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		<title>20211229 homework</title>
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		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Mascara Jade Forest as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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In the distance, the mountains of Hongqiaomei City are sprawling, and the spring water of Fan River is gurgling under the White Tower. The fragrance of the flowers was so pleasant that I knew the weather was warm; the weather was sunny and the chirping of magpies came out through the trees. The price of the muddy wine in Fangchang is so low that even poor people can get drunk, and the farmers are busy cultivating in the mountains and fields during the busy season.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:14, 31 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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&amp;quot;Nothing makes people happier than paying all the taxes and not having any petty officials to collect the rent throughout the year.&amp;quot; It means that people knew the weather had suddenly warmed up because of the smell of flowers. The twenty-third and twenty-eighth rounds are quoted as &amp;quot;the smell of flowers wafted in the air and then people knew the day is getting warmer&amp;quot;, the &amp;quot;suddenly&amp;quot; is mistaken for &amp;quot;day&amp;quot;, may be Cao Xueqin misremembered.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:05, 31 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons: make his parents feel warm in winter and cool in summer, serve them to go to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest,having come along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum. Ms. Li had originally been the wife of Bead Merchant.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 05:01, 31 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “a woman without talent is virtue,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:35, 30 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
However, the main thing is the textile female red, so the name is Silk Plum, i.e Gongcai . Therefore, although Silk Plum was widowed when she was young and lived in a magnificent state, she did not pay attention to it, her heart was as dead as ashes. She only knew how to serve parents and raise children. In her spare time, she accompanies sister-in-law(husband's side) and others to make needlework and read poetry and books.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:48, 30 December 2021 (UTC)&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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Although Mascara Jade was just living here as a guest, these couins and sisters-in-law accompanied her that she had nothing to scruple, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a a case of manslaughter on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury and causing one’s death. He then took the plaintiff to trial. &lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:45, 31 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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The plaintiff said: &amp;quot;The man killed was my master. He bought a girl that day but unexpectedly she had been stolen by that human trader, who got my master's money. My master thought the next day was a good day then married her;&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:45, 31 December 2021 (UTC)&lt;br /&gt;
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The plaintiff said：“The man killed was my master. He bought a girl that day but unexpectedly she was cheated and forced by that human trader, who got my master's money. My master thought the next day was a good day then married her;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 07:48, 31 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Marshgrass family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Marshgrass party has been all along the bully of Gold Mausoleum, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list, which contains the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:50, 30 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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&amp;quot;You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who was abducted. The dead ghost buyer also knows. Let me tell you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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Maybe you know the direction in which the murderer is hiding.&amp;quot;The doorman said with a smile: &amp;quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail:   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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Childe Marshgrass then rudely ordered his servants to take action. Feng was beaten up so badly that he died within three days after he was carried home. Childe Marshgrass had intended to go to the capital in a few days. Even though he had beaten Feng and abducted the maid, he acted as if nothing had happened, and simply hit the road with his family.  It is not because he wanted to run away.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:49, 30 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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Those minor matters concerning people’s lives are taken care of by his brothers and servants. Aside from this, my master, do you know who’s the girl been sold?” Rainvillage Merchant applied: “How am I supposed to know?” The junior clerk sneered: “She helped you a lot in the past, my master!”  --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:39, 30 December 2021 (UTC)&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity,who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five,but why she didn't be sold until recently?&amp;quot;Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 02:24, 31 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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We knew this Yinglian very well because we played with him every day, so after seven or eight years,though his appearance has grown more mature，her basic appearance doesn‘t change，so I can recognize her；Moreover，there is an inborn little carmine point between his eyebrows.&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;What the Lordship says is true, but it is not possible to do it in the world today. Don't you know what the ancients said: 'A great man moves with the times.' And they also say, 'A gentleman is a gentleman who tries to avoid bad luck. According to you, not only will you not be able to serve the court, but you will also not be able to protect yourself, so you should think twice.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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Djia Yu-tsun bowed his head for half a day before saying, &amp;quot;What do you think?&amp;quot; Mencius said, &amp;quot;I have a very good idea here: Your Lordship will sit in the hall tomorrow, just bluff, move the papers and issue the signatures to take the people.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:09, 30 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that the coscinomancy implied that the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 14:57, 30 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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Now Dragon Marshgrass suffered from a nameless disease and died because he was pursued by Feng Yuan's soul. The disaster is caused by the trickster so he will be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:05, 30 December 2021 (UTC)&lt;br /&gt;
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Now Dragon Marshgrass suffered from a nameless disease and died as he was pursued by Feng Yuan's soul. The disaster was caused by the trickster so he would be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:17, 31 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Rain village family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 20212^0081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the managers and employees of the Purveyor's offices in different provinces, perceiving how youthful and inexperienced Dragon Marshgrass was， readily availed themselves of the opportunity to begin swindling. As a result, The business carried on in several different places in the capital gradually began to fall off.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:45, 31 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity to realize his dream. There are three pretexts. First, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. His real reason, of course, was to see the scenery of the capital. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 31 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity, firstly, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. But his real reason, of course, was to admire the scenery of the capital.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:54, 31 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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Therefore, Dragon Marshgrass had already checked his luggage and jewelry and prepared the local specialty and gifts for his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine but the family Feng robbed  him of Pity Zhen,then he ordered a slave to kill Feng Yuan.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:57, 31 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's husband's house.&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to be the leader of another province, it's very common for the household to be bustling about. Wouldn't it be inconsiderate if we all come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's house.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:47, 31 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean:--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:20, 31 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
&lt;br /&gt;
It is not so convenient to live with your uncle and aunt:you'd better live with your own. If you want to do this, go to choose a house: having been apart for several years with your aunt and sisters, I want to be with them for a few days with your sisters. How do you like that?--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 05:19, 31 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
&lt;br /&gt;
薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
&lt;br /&gt;
Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
&lt;br /&gt;
喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
&lt;br /&gt;
Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
&lt;br /&gt;
Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
&lt;br /&gt;
Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, thus agreeing to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was delicate , but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:30, 30 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Dragon Marshgrass's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was another door leading to the street, and Dragon Marshgrass's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Lady King's main house. Every day, after dinner or in the evening, Aunt Marshgrass came over, chatting with Grandma Merchant, or narrating with Lady King.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
&lt;br /&gt;
During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，Dragon Marshgrass has been acquainted with hallf of the sons and nephews in the Jia family. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Dragon Marshgrass, who is seduced, is ten times worse than that day. Although Pardon Merchant is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Treasure merchant, and he is the eldest grandson of the Ningguo Mansion, now everything is in charge of him.&lt;br /&gt;
&lt;br /&gt;
Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Dragon Marshgrass is ten times worse than that day. Although Master Merchant correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Treasure Merchant, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
&lt;br /&gt;
Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
&lt;br /&gt;
Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
&lt;br /&gt;
''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=135090</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=135090"/>
		<updated>2021-12-31T10:15:31Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Granny Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Jia Baotou WE Precious Jade said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Granny Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Seeking-Spring Merchant laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Precious Jade Merchant laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Grandma Merchant said, “ Place Precious Jade in the warm house with me and settle your Miss Forest inside the room of the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Precious Jade said:” Dear grandma, I would rather stay at the bed outside the Green Voile House, than at your room to bother you.”  Grandma Merchant said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides,Splendid Phoenix King had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Mascara Jade Forest had brought her old Wet Nurse -- Nanny King  and ten-year-old Snowgoose,who had also attended her since she was a child. Grandma Merchant considered Snowgoose too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid  Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and  Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid  Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that  “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade Merchant, for Grandma Merchant coddled him and worried that the maids of Precious Jade Merchant not professional.  Precious Jade Merchant knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers, Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Mascara Jade at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, Miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Mascara Jade at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Mascara Jade Forest said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Grandma Merchant, because he came to Lady King. Just as  Lady King and Splendid Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of LadyKing's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. “Di”—it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament.&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of  Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 08:10, 31 December 2021 (UTC)&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Northchen&amp;quot;, is the Polaris, which was the alternative name of the emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
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Yu asked and replied, &amp;quot;This is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Precious Jade Merchant’s incarnation Divine luminescent Stone-in-Waiting watering Mascara Jade Forest’s incarnation—— the Ver,ilion Pearl Plant with nectar in the Illusory Land of Great Void.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Precious Jade Merchant's incarnation Divine luminescent Stone-in-Waiting watering Mascara Jade Forest’s incarnation—— the Ver,ilion Pearl Plant with nectar in the Illusory Land of Great Void.;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Precious Jade Merchant said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Translation : Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134962</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134962"/>
		<updated>2021-12-30T11:23:15Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who turn around. The dead ghost buyer also knows. Let me talk to you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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Maybe you know the direction in which the murderer is hiding.&amp;quot;The doorman said with a smile: &amp;quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail:   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's husband's house.&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Dragon Marshgrass's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Dragon Marshgrass's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Lady King's main house. Every day, after dinner or in the evening, Aunt Marshgrass came over, chatting with Grandma Merchant, or narrating with Lady King.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Dragon Marshgrass is ten times worse than that day. Although Master Merchant correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Treasure Merchant, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134949</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134949"/>
		<updated>2021-12-30T10:09:34Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who turn around. The dead ghost buyer also knows. Let me talk to you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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Maybe you know the direction in which the murderer is hiding.&amp;quot;The doorman said with a smile: &amp;quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail:   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's husband's house.&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=134948</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=134948"/>
		<updated>2021-12-30T10:01:03Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:26, 30 December 2021 (UTC)&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ju-hai  also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Rain-Village obeyed,and was very satisfied . Ju-hai then took some gifts and walked away, and Rain-Village took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said to Ju-hai: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received  his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Mascara Jade abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ning-guo-Anwesen&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Lin Dai-yü thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Mascara Jade Forest out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Forest is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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Grandma Merchant then introduced them respectively to Mascara Jade Forest: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; She greeted them one by one. Grandma Merchant then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Mascara Jade Forest replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Mascara Jade Forest, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to  her. Grandma Merchant said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, &amp;quot;Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself.  Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and  Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Lady King added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Splendid Phoenix King said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Lady City smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
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The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Jubilee Hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Source Merchant, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot;  Lady King and  Mascara Jade Forest  went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant  sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant  ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest  also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Mascara Jade saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
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Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Mascara Jade replied. &amp;quot;What books are my cousins reading?&amp;quot; Mascara Jade went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed Grandma Merchant; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Precious Jade was&lt;br /&gt;
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
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He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars,gems,name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
Translation: The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134946</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134946"/>
		<updated>2021-12-30T09:57:18Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Granny Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Jia Baotou WE Precious Jade said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Granny Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Seeking-Spring Merchant laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Precious Jade Merchant laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid  Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and  Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid  Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that  “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade Merchant, for Grandma Merchant coddled him and worried that the maids of Precious Jade Merchant not professional.  Precious Jade Merchant knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers, Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Mascara Jade at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, Miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Mascara Jade at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Grandma Merchant, because he came to Lady King. Just as  Lady King and Splendid Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of LadyKing's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament.&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of  Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Precious Jade Merchant's incarnation Shenying waiter watered Mascara Jade Forest's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Precious Jade Merchant said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Translation : Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134945</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134945"/>
		<updated>2021-12-30T09:56:14Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Granny Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Jia Baotou WE Precious Jade said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Granny Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Seeking-Spring Merchant laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Precious Jade Merchant laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid  Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and  Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid  Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that  “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade Merchant, for Grandma Merchant coddled him and worried that the maids of Precious Jade Merchant not professional.  Precious Jade Merchant knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers, Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Mascara Jade at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, Miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Mascara Jade at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Grandma Merchant, because he came to Lady King. Just as  Lady King and Splendid Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of LadyKing's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament.&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of  Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Precious Jade Merchant's incarnation Shenying waiter watered Mascara Jade Forest's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, WE Precious Jade said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Translation : Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134942</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134942"/>
		<updated>2021-12-30T09:50:49Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Granny Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Jia Baotou WE Precious Jade said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Granny Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Precious Jade Merchant went to Mascara Jade Forest and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Mascara Jade Forest said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Seeking-Spring Merchant laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Precious Jade Merchant laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and polly accompany Black Jade in green gauze room, Precious Jade Merchant’s nammy plumb and big maid  Aroma accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment Nanny King (Wet Nurse) and  Nightingale accompany Mascara Jade Forest in green gauze room, Precious Jade Merchant’s Nanny Plum (Wet Nurse) and big maid  Aroma accompany on the big bed outside.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:19, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Aroma, whose real name is Pistil Ovule also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness then assigned her to Precious Jade Merchant, because Grandma Merchant coddled him and worried that his maid not work well. Precious Jade Merchant knew her last name was Hua (flower), and saw once verse that  “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant and then Pistil Ovule was named as Aroma.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Aroma, whose real name is Pistil Ovule, also belongs to Grandma Merchant. Grandma Merchant enjoyed Pistil Ovule’s purity and kindness, then assigned her to serve Precious Jade Merchant, for Grandma Merchant coddled him and worried that the maids of Precious Jade Merchant not professional.  Precious Jade Merchant knew her last name was Hua (flower), and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Grandma Merchant. And then Pistil Ovule was named as Aroma.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Aroma is crazy: when seving Grandma Merchant, only Grandma Merchant is in her heart; now serving Precious Jade Merchant, there is only Precious Jade Merchant in her heart. Because of Precious Jade Merchant's perverse temperament, when Precious Jade Merchant doesn't listen to her advise, Aroma is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Aroma had several simple traits. While in attendance upon dowager Grandma Merchant, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Precious Jade Merchant, her heart and her eyes were again full of Precious Jade Merchant, and him alone. But as Precious Jade Merchant was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers, Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Mascara Jade at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Precious Jade and Nanny Plum had fallen asleep, seeing that in the inner chambers,Mascara Jade and Nightingale had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, Miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Mascara Jade at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Nightingale ridiculed, &amp;quot;Miss Mascara Jade Forest feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Grandma Merchant, because he came to Lady King. Just as  Lady King and Splendid Phoenix King were at the same place to tear down the letter from Jinling, and two daughters-in-law of LadyKing's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
After a little more conversation, we rested. I got up early to pass Jia Mother, because I was going to the king's wife. When Lady Wang and Xifeng in a letter to open jinling, and lady Wang's brother and sister-in-law sent to the two children to talk.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:04, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Mascara Jade Forest did not know the exact cause, Tanchun and other know are to discuss Jinling City, the son of his Aunt Marshgrass, cousin Goldish Osmanthus leaning on wealth and power, killing people, and now God Promise Mansion case under trial. Now, uncle Soar King got the letter, sent to tell this side, intends to call the intention of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:51, 29 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:56, 29 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Spring Pleasure Merchant's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Seeking-Spring Merchant. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Seeking-Spring Merchant'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Seeking-Spring Merchant has a great elegant temperament.&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of  Cherishing Spring Merchant.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Seeking-Spring Merchant's elegance.The two sentences containing “ the third” — are the image depiction of Cherishing Spring Merchant.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe Cherishing Spring Merchant, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng tonic bolus- A pill made of ginseng, angelica, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Cherishing Spring Merchant, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Honor” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Precious Hairpin Marshgrass. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Chu Hsi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, WE Precious Jade said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Translation : Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=134939</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=134939"/>
		<updated>2021-12-30T09:34:20Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:26, 30 December 2021 (UTC)&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ju-hai  also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Rain-Village obeyed,and was very satisfied . Ju-hai then took some gifts and walked away, and Rain-Village took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said to Ju-hai: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received  his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Mascara Jade abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ning-guo-Anwesen&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Lin Dai-yü thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Mascara Jade Forest out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Forest is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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Grandma Merchant then introduced them respectively to Mascara Jade Forest: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; She greeted them one by one. Grandma Merchant then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Mascara Jade Forest replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Mascara Jade Forest, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to  her. Grandma Merchant said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, &amp;quot;Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself.  Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and  Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Lady King added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Splendid Phoenix King said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Lady City smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
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The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Jubilee Hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Source Merchant, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot;  Lady King and  Mascara Jade Forest  went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant  sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant  ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest  also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Mascara Jade saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
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Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Mascara Jade replied. &amp;quot;What books are my cousins reading?&amp;quot; Mascara Jade went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed Grandma Merchant; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Precious Jade was&lt;br /&gt;
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
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He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, WE Precious Jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
Translation: The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211110_homework&amp;diff=134935</id>
		<title>20211110 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211110_homework&amp;diff=134935"/>
		<updated>2021-12-30T09:11:46Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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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.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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。&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)&lt;br /&gt;
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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&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
《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。&lt;br /&gt;
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''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&lt;br /&gt;
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''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)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480 ==&lt;br /&gt;
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》）。&lt;br /&gt;
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''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 &amp;quot; 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)&lt;br /&gt;
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Not only did &amp;quot;almost every scholar had a copy of ''A Dream of Red Mansions''&amp;quot; (the first volum of Essay by Pan Zhao, Qing Dynasty), but &amp;quot;Every household recited it, and all women and children knew it&amp;quot; (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of &amp;quot;If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain&amp;quot; (''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, &amp;quot;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.&amp;quot; (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)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
《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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;encyclopedia&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;encyclopedia&amp;quot; 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)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;real things concealed&amp;quot;, in the twisted way of &amp;quot;false words and village gossips&amp;quot;, 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)&lt;br /&gt;
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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 &amp;quot;real things concealed&amp;quot;, using the twisted way of &amp;quot;false words and village gossips&amp;quot; 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)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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。&lt;br /&gt;
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一、作者问题&lt;br /&gt;
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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 in 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)&lt;br /&gt;
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If I can become a &amp;quot;brick&amp;quot; for &amp;quot;inviting jade&amp;quot;, even if I want to be &amp;quot;a target of all targets&amp;quot; and attract &amp;quot;a thousand arrows&amp;quot;, I will never regret it, because this is also a small dedication to the readers of &amp;quot;A Dream of Red Mansions&amp;quot;. The following is only a brief description of a few specific issues related to the proofreading work.&lt;br /&gt;
1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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”。&lt;br /&gt;
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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 &amp;quot;writing is used to carry Tao&amp;quot;.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;literature carries Tao&amp;quot;.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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 &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, 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 &amp;quot;prohibition and destruction&amp;quot;. 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&lt;br /&gt;
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They believed that novels not only can not &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, 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 &amp;quot;prohibition and destruction&amp;quot;. 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)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;redologists&amp;quot; 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)&lt;br /&gt;
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 &amp;quot;redologists&amp;quot; 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)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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。&lt;br /&gt;
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The second is the theory of &amp;quot;Cao came to write, Cheng continued to write, Gao to revise&amp;quot;. 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 &amp;quot;Cao came to write, Gao continued to write, Cheng to revise&amp;quot;. 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)&lt;br /&gt;
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The second statement said that &amp;quot;Started by Cao, completed by Chen, and revised by Gao&amp;quot;. 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 &amp;quot;Started by Cao, completed by Gao, and revised by Chen&amp;quot;. 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)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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The fourth statement said that &amp;quot;This masterpiece is started by Cao, completed by someone, and revised by Gao&amp;quot;. 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 &amp;quot;It was started by Cao, and revised by both Cheng and Gao&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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”。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)&lt;br /&gt;
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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)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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。&lt;br /&gt;
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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 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)&lt;br /&gt;
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)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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。&lt;br /&gt;
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二、版本问题&lt;br /&gt;
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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。&lt;br /&gt;
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.&lt;br /&gt;
二、Version problem&lt;br /&gt;
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)&lt;br /&gt;
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As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.&lt;br /&gt;
 Second, the version of the problem because of the &amp;quot;Dream of Red Mansions&amp;quot; creative process and the special nature of the process of circulation, resulting in the &amp;quot;Dream of Red Mansions&amp;quot; version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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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。&lt;br /&gt;
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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 &amp;quot;reading for ten years, adding and deleting five times&amp;quot;, 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)&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:16, 29 December 2021 (UTC)&lt;br /&gt;
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 &amp;quot;read for ten years, add and delete five times&amp;quot;, 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)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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。&lt;br /&gt;
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 &amp;quot;gengchen Ben&amp;quot; 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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Jia Edition&amp;quot; by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi Ben&amp;quot; by  Mr.Shi Hu. It is said that there is also &amp;quot;Cheng bing Edition&amp;quot;, which is unknown now. According to someone who have seen it, there are few changes compared with &amp;quot;Cheng Yi Edition&amp;quot;, so it can be set aside.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei&lt;br /&gt;
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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 &amp;quot;Cheng Jia (the first) Editions&amp;quot; by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi (the second) Edition&amp;quot; by Hu Shi. It is said that there was also &amp;quot;Cheng Bing (the third) Edition&amp;quot;, which now has no whereabouts. According to someone who had once read it, compared with &amp;quot;Cheng Yi Edition&amp;quot;, 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)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
《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)。&lt;br /&gt;
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The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of &amp;quot;three many&amp;quot; : 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 &amp;quot;The Story of the Stone&amp;quot; (five versions) or &amp;quot;A Dream of Red Mansions&amp;quot; (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)&lt;br /&gt;
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The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called &amp;quot;three many&amp;quot;: 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)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
《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。&lt;br /&gt;
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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)&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi Ben&amp;quot;. Since, when publishing ''Dream of the Red Chamber'', there are still &amp;quot;Redologists&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi Ben&amp;quot;.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)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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。&lt;br /&gt;
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It is noteworthy that all these people wrote about tragic endings, expecially th most important case of &amp;quot; Wood and Stone's Previous Oath&amp;quot;. 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 &amp;quot;reunion superstition&amp;quot; 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)&lt;br /&gt;
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It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- &amp;quot;The Pledge in front of Wood and Stone&amp;quot;, 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)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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！&lt;br /&gt;
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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)&lt;br /&gt;
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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 &amp;quot;A Dream of the Red mansion&amp;quot; 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)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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。&lt;br /&gt;
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 &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ...... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; 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)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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。&lt;br /&gt;
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Therefore, his conclusion is: The continuations of &amp;quot;The Dream of Red Mansions&amp;quot; written by the Gao E and others are all &amp;quot;wretched sequels to a masterpiece.&amp;quot; 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)&lt;br /&gt;
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He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all &amp;quot;dog tails on a marten&amp;quot;, which means a wretched sequels to a masterpiece. Mr. Yu's statement that &amp;quot;all books cannot be renewed&amp;quot; and &amp;quot;all those who renew books will fail&amp;quot; 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)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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。  &lt;br /&gt;
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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)&lt;br /&gt;
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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. &amp;quot;Failed, failed gloriously!&amp;quot; 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)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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。&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)&lt;br /&gt;
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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)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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。&lt;br /&gt;
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Although some recent &amp;quot;new Redologists&amp;quot; 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 &amp;quot;reunion&amp;quot; novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;reunion&amp;quot; novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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 &amp;quot;Cheng Jiabo edition&amp;quot; and &amp;quot;Cheng Yibo edition&amp;quot;, which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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。&lt;br /&gt;
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Which of these two versions is better? Of course, it is &amp;quot;Cheng B&amp;quot;, because it is gao e to &amp;quot;Cheng A&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yiben&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; 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)&lt;br /&gt;
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Which version is better? Of course, it is &amp;quot;Cheng Yi&amp;quot;, because it is gao e to &amp;quot;Cheng Jia&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yi&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; 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)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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。&lt;br /&gt;
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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, &amp;quot;because he was anxious to be good to the public&amp;quot;, he failed to &amp;quot;review for ten years, add and delete five times&amp;quot; as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that &amp;quot;mistakes&amp;quot; were inevitable.Therefore, he immediately revised and reprinted it, resulting in &amp;quot;the version of Cheng Yi&amp;quot;. It can be seen that &amp;quot;the version of Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;the version of Cheng Jia&amp;quot;, which is naturally better than &amp;quot;the version of Cheng Jia&amp;quot;.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;Cheng Yi (the second) Edition&amp;quot;. It can be seen that &amp;quot; Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;Cheng Jia (the first) Edition&amp;quot;, which is naturally better than &amp;quot;Cheng Jia&amp;quot;.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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。&lt;br /&gt;
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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) &lt;br /&gt;
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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)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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。&lt;br /&gt;
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Mr.Hushi wrote &amp;quot;A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions''&amp;quot; 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)&lt;br /&gt;
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Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of &amp;quot;''A Dream in Red Mansions''&amp;quot;'' 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)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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。&lt;br /&gt;
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Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published &amp;quot;Cheng Yiben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Yiben&amp;quot;, and changed the statistics and specific examples (see below for details), further proving that &amp;quot;Cheng Yiben&amp;quot; was better than &amp;quot;Cheng Jiaben&amp;quot;. Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's &amp;quot;Cheng Yiben&amp;quot; were published, especially &amp;quot;Cheng Yiben&amp;quot; was indeed better than &amp;quot;Cheng Jiaben&amp;quot;, so most booksellers abandoned &amp;quot;Cheng Jiaben&amp;quot; and competed to print &amp;quot;Cheng Yiben&amp;quot;, &amp;quot; Cheng Yiben &amp;quot; 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)&lt;br /&gt;
Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published &amp;quot;Cheng Yi Ben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Ben&amp;quot;, and further proved that &amp;quot;Cheng Yi Ben&amp;quot; was better than &amp;quot;Cheng Jia Ben&amp;quot; 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 &amp;quot;Cheng Yi Ben&amp;quot; ordered by Mr. Wang Yuanfang, especially &amp;quot;Cheng Yi Ben&amp;quot; is indeed better than &amp;quot;Cheng Jia Ben&amp;quot;, most booksellers abandoned &amp;quot;Cheng Jia Ben&amp;quot; and competed to publish &amp;quot;Cheng Yi Ben&amp;quot; and &amp;quot;Cheng Yi Ben&amp;quot; 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)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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。&lt;br /&gt;
However, after the 1980s, the situation of &amp;quot;Cheng Yi Ben&amp;quot; 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 &amp;quot;Cheng Jia Ben&amp;quot; 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.&lt;br /&gt;
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However, after the 1980s, the dominating situation of &amp;quot;Cheng Yi version&amp;quot;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)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi's version&amp;quot; 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)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.&lt;br /&gt;
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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 &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; 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)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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. &lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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。&lt;br /&gt;
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What is particularly absurd is that, from the following words &amp;quot;all the audience&amp;quot;, 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. &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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？&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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”。&lt;br /&gt;
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However, the Zhi Yanzhai's critiques unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really big eyes and a big deal.&amp;quot; If this is not an accidental mistake, it can only be said to be ungrateful. If &amp;quot;Cheng Yi version&amp;quot; deletes it, it can be regarded as a comment of &amp;quot;big eyes and a big deal&amp;quot;. 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 &amp;quot;Xiao Tu Fan er&amp;quot; and how to change &amp;quot;the surname and name of Quan Rong&amp;quot;.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)&lt;br /&gt;
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However, critiques of Zhi Yanzhai(one of the earliest critics of &amp;quot;A Dream in Red Mansions&amp;quot; )  unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really weighty.&amp;quot; If it is not an accidental mistake, it can only be said to be ungrateful. &amp;quot;Cheng Yi version&amp;quot; deletes it, thus it can be regarded as the comment of &amp;quot;weighty writings&amp;quot;. 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 &amp;quot;Xiao Tu Fan er&amp;quot; and how they change &amp;quot;the name of Quan Rong&amp;quot; just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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。&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that&amp;quot;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.&amp;quot; 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 &amp;quot;Cheng Yi's version&amp;quot; to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Baoyu even said things like this:&amp;quot;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.&amp;quot; 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&amp;amp;Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;some x hairs&amp;quot;,&amp;quot;some nasty voices&amp;quot; are also included at the same time，that's why the Cheng&amp;amp;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&amp;amp;Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&amp;amp;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)&lt;br /&gt;
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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 &amp;quot;a few pubic hair&amp;quot;, &amp;quot;obscene voice&amp;quot; of foul language, so &amp;quot;Cheng B book &amp;quot;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 &amp;quot;Cheng B book&amp;quot; is better than the original is hard to be denied by anyone. Secondly, in terms of the two &amp;quot;Cheng books&amp;quot;, since the &amp;quot;Cheng B book&amp;quot; is a revised version of the &amp;quot;Cheng A book&amp;quot;, it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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。&lt;br /&gt;
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About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; and made statistics on the differences between the two texts, and the result was: &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot; 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 &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the &amp;quot;Cheng A book&amp;quot; in the &amp;quot;error&amp;quot; text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; 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 &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot;, including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the modification of the &amp;quot;error&amp;quot; text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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。&lt;br /&gt;
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For example, the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; in chapter 2, &amp;quot;Cheng Jia's translation version&amp;quot; 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 &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)&lt;br /&gt;
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For example, in the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; from chapter 2, the following text of the original work remained intact in &amp;quot;Cheng Jia(the first)edition&amp;quot;: Mrs Wang, the wife of Lord Zheng …… 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 &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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。&lt;br /&gt;
“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。&lt;br /&gt;
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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, &amp;quot;like mother and son&amp;quot;,could not be only one year apart,so there is an obvious &amp;quot;mistake&amp;quot;in the paragraph from the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;mistake&amp;quot; in the paragraph of the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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。&lt;br /&gt;
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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: &amp;quot;ruo&amp;quot; was translated into &amp;quot;yao&amp;quot;(if), &amp;quot;yu&amp;quot; into &amp;quot;yao&amp;quot;(to), &amp;quot;yi&amp;quot; into &amp;quot;ye&amp;quot;(also), &amp;quot;ci&amp;quot; into &amp;quot;zhe&amp;quot;(this), &amp;quot;kou&amp;quot; into &amp;quot;zui&amp;quot;(mouth),&amp;quot;he&amp;quot; into &amp;quot;wei shen me&amp;quot;(why), &amp;quot;ru he&amp;quot; into &amp;quot;zen me&amp;quot;(how), &amp;quot;ru ci&amp;quot; into &amp;quot;zhe me zhao&amp;quot;(in this way), &amp;quot;weisui&amp;quot; into &amp;quot;weisuo&amp;quot;(obscene) and so on. Thirdly, lots of &amp;quot;er&amp;quot; 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)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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。&lt;br /&gt;
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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  &amp;quot;Cheng Yi's translation version&amp;quot;, 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)&lt;br /&gt;
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)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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。&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;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.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that  First Spring Merchant was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;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.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised.&lt;br /&gt;
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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 &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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。&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yi Version&amp;quot; （a version of &amp;quot;A Dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong library as early as 1927.  It is ironic that many &amp;quot;Cheng Jia Version&amp;quot; and &amp;quot;Cheng Yi Version&amp;quot;  published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &amp;quot;Cheng Yi Version&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yi Version&amp;quot; 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)&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yiben&amp;quot; （a version of &amp;quot;a dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong Library as early as 1927.  It is ironic that many &amp;quot;Cheng Jiaben&amp;quot; and &amp;quot;Cheng Yiben&amp;quot;, 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 &amp;quot;Cheng Yiben&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yiben&amp;quot; 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)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
（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。&lt;br /&gt;
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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 &amp;quot;揌&amp;quot; changed to “塞&amp;quot;, &amp;quot;嘴&amp;quot; changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; changed to &amp;quot;拿椅子&amp;quot;, 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)&lt;br /&gt;
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（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, &amp;quot;揌&amp;quot; are changed to &amp;quot;塞&amp;quot;, &amp;quot;嘴&amp;quot; is changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; is changed to &amp;quot;拿椅子&amp;quot; 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)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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。&lt;br /&gt;
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For example, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;, &amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot; 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)&lt;br /&gt;
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For instance, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;,&amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot;, 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 &amp;quot;A Dream of Red Mansions&amp;quot;. 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)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicate position are mixed together, &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , Unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;; and so on.&lt;br /&gt;
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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 &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and in case that  &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, they are unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;respectively ;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicating position are mixed together,and &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, so they are  unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , so they are unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
（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。&lt;br /&gt;
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(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)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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”。&lt;br /&gt;
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In order to save space, no proofreading will be published. 4、 Annotation question &amp;quot;Annotation&amp;quot; is also called &amp;quot;Annotation&amp;quot;.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 &amp;quot;sparse&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 09:11, 30 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlì 日语语言文学 女 202120081562==&lt;br /&gt;
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。&lt;br /&gt;
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Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called &amp;quot;notes&amp;quot;. 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&lt;br /&gt;
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.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
对于一般读者来说，所有这些都可能是阅读中的绊脚石。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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。&lt;br /&gt;
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This annotation is meant to remove the barriers in  reading and make it easier to read.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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：&lt;br /&gt;
In order to save space, I will give just one example. In the fifty-sixth chapter, &amp;quot;Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general&amp;quot;, there is a passage between Jia Tanchun and Xue Baochai discussing the economy:&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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。&lt;br /&gt;
Baochai smiled and said: &amp;quot;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.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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？”&lt;br /&gt;
But if you have all studied and read, haven't you seen Master Zhu's article &amp;quot;Don't Abandon Oneself&amp;quot;?&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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？”&lt;br /&gt;
Tanchun said and smile, &amp;quot;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?&amp;quot;&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
宝钗道：“朱子都行了虚比浮词了？那句句都是有的。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
你才办了两天事，就利欲熏心，把朱子都看虚浮了。&lt;br /&gt;
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)&lt;br /&gt;
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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&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”&lt;br /&gt;
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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&lt;br /&gt;
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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)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
探春笑道：“你这样一个通人，竟没看见《姬子》书？&lt;br /&gt;
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Tan-tschun Smiled and said &amp;quot;you are such a familiar person, but have you read the &amp;quot;Ji Zi&amp;quot; book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)&lt;br /&gt;
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Tan-tschun smiled and said: &amp;quot;You are such a familiar person, but haven't you read the book &amp;quot;Ji Zi&amp;quot;? --[[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)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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。’”&lt;br /&gt;
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On that day, &amp;quot;Jizi&amp;quot; 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. ’&amp;quot;&lt;br /&gt;
--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW&lt;br /&gt;
-EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)&lt;br /&gt;
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There was a saying in ''Himeko'' that day: &amp;quot;Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism.&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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？”&lt;br /&gt;
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Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now that I have read the next sentence out of context, can I blame myself for failing?&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)&lt;br /&gt;
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Translation: Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?&amp;quot;--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。&lt;br /&gt;
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Translation: In this passage, Zhu Xi's &amp;quot;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)&amp;quot; and the book &amp;quot;Ji Zi&amp;quot; are mentioned.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211110_homework&amp;diff=134934</id>
		<title>20211110 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211110_homework&amp;diff=134934"/>
		<updated>2021-12-30T09:11:02Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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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.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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。&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)&lt;br /&gt;
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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&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
《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。&lt;br /&gt;
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''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&lt;br /&gt;
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''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)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480 ==&lt;br /&gt;
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》）。&lt;br /&gt;
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''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 &amp;quot; 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)&lt;br /&gt;
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Not only did &amp;quot;almost every scholar had a copy of ''A Dream of Red Mansions''&amp;quot; (the first volum of Essay by Pan Zhao, Qing Dynasty), but &amp;quot;Every household recited it, and all women and children knew it&amp;quot; (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of &amp;quot;If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain&amp;quot; (''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, &amp;quot;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.&amp;quot; (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)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
《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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;encyclopedia&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;encyclopedia&amp;quot; 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)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;real things concealed&amp;quot;, in the twisted way of &amp;quot;false words and village gossips&amp;quot;, 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)&lt;br /&gt;
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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 &amp;quot;real things concealed&amp;quot;, using the twisted way of &amp;quot;false words and village gossips&amp;quot; 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)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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。&lt;br /&gt;
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一、作者问题&lt;br /&gt;
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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 in 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)&lt;br /&gt;
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If I can become a &amp;quot;brick&amp;quot; for &amp;quot;inviting jade&amp;quot;, even if I want to be &amp;quot;a target of all targets&amp;quot; and attract &amp;quot;a thousand arrows&amp;quot;, I will never regret it, because this is also a small dedication to the readers of &amp;quot;A Dream of Red Mansions&amp;quot;. The following is only a brief description of a few specific issues related to the proofreading work.&lt;br /&gt;
1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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”。&lt;br /&gt;
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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 &amp;quot;writing is used to carry Tao&amp;quot;.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;literature carries Tao&amp;quot;.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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 &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, 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 &amp;quot;prohibition and destruction&amp;quot;. 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&lt;br /&gt;
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They believed that novels not only can not &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, 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 &amp;quot;prohibition and destruction&amp;quot;. 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)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;redologists&amp;quot; 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)&lt;br /&gt;
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 &amp;quot;redologists&amp;quot; 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)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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。&lt;br /&gt;
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The second is the theory of &amp;quot;Cao came to write, Cheng continued to write, Gao to revise&amp;quot;. 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 &amp;quot;Cao came to write, Gao continued to write, Cheng to revise&amp;quot;. 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)&lt;br /&gt;
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The second statement said that &amp;quot;Started by Cao, completed by Chen, and revised by Gao&amp;quot;. 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 &amp;quot;Started by Cao, completed by Gao, and revised by Chen&amp;quot;. 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)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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The fourth statement said that &amp;quot;This masterpiece is started by Cao, completed by someone, and revised by Gao&amp;quot;. 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 &amp;quot;It was started by Cao, and revised by both Cheng and Gao&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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”。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)&lt;br /&gt;
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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)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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。&lt;br /&gt;
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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 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)&lt;br /&gt;
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)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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。&lt;br /&gt;
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二、版本问题&lt;br /&gt;
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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。&lt;br /&gt;
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.&lt;br /&gt;
二、Version problem&lt;br /&gt;
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)&lt;br /&gt;
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As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.&lt;br /&gt;
 Second, the version of the problem because of the &amp;quot;Dream of Red Mansions&amp;quot; creative process and the special nature of the process of circulation, resulting in the &amp;quot;Dream of Red Mansions&amp;quot; version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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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。&lt;br /&gt;
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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 &amp;quot;reading for ten years, adding and deleting five times&amp;quot;, 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)&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:16, 29 December 2021 (UTC)&lt;br /&gt;
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 &amp;quot;read for ten years, add and delete five times&amp;quot;, 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)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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。&lt;br /&gt;
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 &amp;quot;gengchen Ben&amp;quot; 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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Jia Edition&amp;quot; by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi Ben&amp;quot; by  Mr.Shi Hu. It is said that there is also &amp;quot;Cheng bing Edition&amp;quot;, which is unknown now. According to someone who have seen it, there are few changes compared with &amp;quot;Cheng Yi Edition&amp;quot;, so it can be set aside.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei&lt;br /&gt;
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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 &amp;quot;Cheng Jia (the first) Editions&amp;quot; by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi (the second) Edition&amp;quot; by Hu Shi. It is said that there was also &amp;quot;Cheng Bing (the third) Edition&amp;quot;, which now has no whereabouts. According to someone who had once read it, compared with &amp;quot;Cheng Yi Edition&amp;quot;, 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)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
《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)。&lt;br /&gt;
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The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of &amp;quot;three many&amp;quot; : 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 &amp;quot;The Story of the Stone&amp;quot; (five versions) or &amp;quot;A Dream of Red Mansions&amp;quot; (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)&lt;br /&gt;
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The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called &amp;quot;three many&amp;quot;: 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)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
《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。&lt;br /&gt;
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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)&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi Ben&amp;quot;. Since, when publishing ''Dream of the Red Chamber'', there are still &amp;quot;Redologists&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi Ben&amp;quot;.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)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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。&lt;br /&gt;
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It is noteworthy that all these people wrote about tragic endings, expecially th most important case of &amp;quot; Wood and Stone's Previous Oath&amp;quot;. 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 &amp;quot;reunion superstition&amp;quot; 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)&lt;br /&gt;
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It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- &amp;quot;The Pledge in front of Wood and Stone&amp;quot;, 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)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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！&lt;br /&gt;
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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)&lt;br /&gt;
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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 &amp;quot;A Dream of the Red mansion&amp;quot; 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)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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。&lt;br /&gt;
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 &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ...... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; 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)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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。&lt;br /&gt;
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Therefore, his conclusion is: The continuations of &amp;quot;The Dream of Red Mansions&amp;quot; written by the Gao E and others are all &amp;quot;wretched sequels to a masterpiece.&amp;quot; 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)&lt;br /&gt;
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He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all &amp;quot;dog tails on a marten&amp;quot;, which means a wretched sequels to a masterpiece. Mr. Yu's statement that &amp;quot;all books cannot be renewed&amp;quot; and &amp;quot;all those who renew books will fail&amp;quot; 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)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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。  &lt;br /&gt;
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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)&lt;br /&gt;
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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. &amp;quot;Failed, failed gloriously!&amp;quot; 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)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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。&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)&lt;br /&gt;
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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)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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。&lt;br /&gt;
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Although some recent &amp;quot;new Redologists&amp;quot; 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 &amp;quot;reunion&amp;quot; novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;reunion&amp;quot; novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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 &amp;quot;Cheng Jiabo edition&amp;quot; and &amp;quot;Cheng Yibo edition&amp;quot;, which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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。&lt;br /&gt;
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Which of these two versions is better? Of course, it is &amp;quot;Cheng B&amp;quot;, because it is gao e to &amp;quot;Cheng A&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yiben&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; 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)&lt;br /&gt;
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Which version is better? Of course, it is &amp;quot;Cheng Yi&amp;quot;, because it is gao e to &amp;quot;Cheng Jia&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yi&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; 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)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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。&lt;br /&gt;
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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, &amp;quot;because he was anxious to be good to the public&amp;quot;, he failed to &amp;quot;review for ten years, add and delete five times&amp;quot; as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that &amp;quot;mistakes&amp;quot; were inevitable.Therefore, he immediately revised and reprinted it, resulting in &amp;quot;the version of Cheng Yi&amp;quot;. It can be seen that &amp;quot;the version of Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;the version of Cheng Jia&amp;quot;, which is naturally better than &amp;quot;the version of Cheng Jia&amp;quot;.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;Cheng Yi (the second) Edition&amp;quot;. It can be seen that &amp;quot; Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;Cheng Jia (the first) Edition&amp;quot;, which is naturally better than &amp;quot;Cheng Jia&amp;quot;.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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。&lt;br /&gt;
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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) &lt;br /&gt;
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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)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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。&lt;br /&gt;
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Mr.Hushi wrote &amp;quot;A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions''&amp;quot; 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)&lt;br /&gt;
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Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of &amp;quot;''A Dream in Red Mansions''&amp;quot;'' 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)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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。&lt;br /&gt;
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Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published &amp;quot;Cheng Yiben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Yiben&amp;quot;, and changed the statistics and specific examples (see below for details), further proving that &amp;quot;Cheng Yiben&amp;quot; was better than &amp;quot;Cheng Jiaben&amp;quot;. Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's &amp;quot;Cheng Yiben&amp;quot; were published, especially &amp;quot;Cheng Yiben&amp;quot; was indeed better than &amp;quot;Cheng Jiaben&amp;quot;, so most booksellers abandoned &amp;quot;Cheng Jiaben&amp;quot; and competed to print &amp;quot;Cheng Yiben&amp;quot;, &amp;quot; Cheng Yiben &amp;quot; 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)&lt;br /&gt;
Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published &amp;quot;Cheng Yi Ben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Ben&amp;quot;, and further proved that &amp;quot;Cheng Yi Ben&amp;quot; was better than &amp;quot;Cheng Jia Ben&amp;quot; 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 &amp;quot;Cheng Yi Ben&amp;quot; ordered by Mr. Wang Yuanfang, especially &amp;quot;Cheng Yi Ben&amp;quot; is indeed better than &amp;quot;Cheng Jia Ben&amp;quot;, most booksellers abandoned &amp;quot;Cheng Jia Ben&amp;quot; and competed to publish &amp;quot;Cheng Yi Ben&amp;quot; and &amp;quot;Cheng Yi Ben&amp;quot; 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)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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。&lt;br /&gt;
However, after the 1980s, the situation of &amp;quot;Cheng Yi Ben&amp;quot; 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 &amp;quot;Cheng Jia Ben&amp;quot; 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.&lt;br /&gt;
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However, after the 1980s, the dominating situation of &amp;quot;Cheng Yi version&amp;quot;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)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi's version&amp;quot; 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)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.&lt;br /&gt;
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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 &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; 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)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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. &lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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。&lt;br /&gt;
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What is particularly absurd is that, from the following words &amp;quot;all the audience&amp;quot;, 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. &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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？&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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”。&lt;br /&gt;
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However, the Zhi Yanzhai's critiques unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really big eyes and a big deal.&amp;quot; If this is not an accidental mistake, it can only be said to be ungrateful. If &amp;quot;Cheng Yi version&amp;quot; deletes it, it can be regarded as a comment of &amp;quot;big eyes and a big deal&amp;quot;. 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 &amp;quot;Xiao Tu Fan er&amp;quot; and how to change &amp;quot;the surname and name of Quan Rong&amp;quot;.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)&lt;br /&gt;
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However, critiques of Zhi Yanzhai(one of the earliest critics of &amp;quot;A Dream in Red Mansions&amp;quot; )  unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really weighty.&amp;quot; If it is not an accidental mistake, it can only be said to be ungrateful. &amp;quot;Cheng Yi version&amp;quot; deletes it, thus it can be regarded as the comment of &amp;quot;weighty writings&amp;quot;. 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 &amp;quot;Xiao Tu Fan er&amp;quot; and how they change &amp;quot;the name of Quan Rong&amp;quot; just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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。&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that&amp;quot;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.&amp;quot; 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 &amp;quot;Cheng Yi's version&amp;quot; to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Baoyu even said things like this:&amp;quot;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.&amp;quot; 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&amp;amp;Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;some x hairs&amp;quot;,&amp;quot;some nasty voices&amp;quot; are also included at the same time，that's why the Cheng&amp;amp;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&amp;amp;Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&amp;amp;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)&lt;br /&gt;
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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 &amp;quot;a few pubic hair&amp;quot;, &amp;quot;obscene voice&amp;quot; of foul language, so &amp;quot;Cheng B book &amp;quot;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 &amp;quot;Cheng B book&amp;quot; is better than the original is hard to be denied by anyone. Secondly, in terms of the two &amp;quot;Cheng books&amp;quot;, since the &amp;quot;Cheng B book&amp;quot; is a revised version of the &amp;quot;Cheng A book&amp;quot;, it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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。&lt;br /&gt;
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About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; and made statistics on the differences between the two texts, and the result was: &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot; 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 &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the &amp;quot;Cheng A book&amp;quot; in the &amp;quot;error&amp;quot; text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; 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 &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot;, including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the modification of the &amp;quot;error&amp;quot; text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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。&lt;br /&gt;
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For example, the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; in chapter 2, &amp;quot;Cheng Jia's translation version&amp;quot; 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 &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)&lt;br /&gt;
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For example, in the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; from chapter 2, the following text of the original work remained intact in &amp;quot;Cheng Jia(the first)edition&amp;quot;: Mrs Wang, the wife of Lord Zheng …… 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 &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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。&lt;br /&gt;
“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。&lt;br /&gt;
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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, &amp;quot;like mother and son&amp;quot;,could not be only one year apart,so there is an obvious &amp;quot;mistake&amp;quot;in the paragraph from the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;mistake&amp;quot; in the paragraph of the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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。&lt;br /&gt;
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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: &amp;quot;ruo&amp;quot; was translated into &amp;quot;yao&amp;quot;(if), &amp;quot;yu&amp;quot; into &amp;quot;yao&amp;quot;(to), &amp;quot;yi&amp;quot; into &amp;quot;ye&amp;quot;(also), &amp;quot;ci&amp;quot; into &amp;quot;zhe&amp;quot;(this), &amp;quot;kou&amp;quot; into &amp;quot;zui&amp;quot;(mouth),&amp;quot;he&amp;quot; into &amp;quot;wei shen me&amp;quot;(why), &amp;quot;ru he&amp;quot; into &amp;quot;zen me&amp;quot;(how), &amp;quot;ru ci&amp;quot; into &amp;quot;zhe me zhao&amp;quot;(in this way), &amp;quot;weisui&amp;quot; into &amp;quot;weisuo&amp;quot;(obscene) and so on. Thirdly, lots of &amp;quot;er&amp;quot; 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)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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。&lt;br /&gt;
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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  &amp;quot;Cheng Yi's translation version&amp;quot;, 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)&lt;br /&gt;
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)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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。&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;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.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that  First Spring Merchant was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;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.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised.&lt;br /&gt;
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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 &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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。&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yi Version&amp;quot; （a version of &amp;quot;A Dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong library as early as 1927.  It is ironic that many &amp;quot;Cheng Jia Version&amp;quot; and &amp;quot;Cheng Yi Version&amp;quot;  published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &amp;quot;Cheng Yi Version&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yi Version&amp;quot; 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)&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yiben&amp;quot; （a version of &amp;quot;a dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong Library as early as 1927.  It is ironic that many &amp;quot;Cheng Jiaben&amp;quot; and &amp;quot;Cheng Yiben&amp;quot;, 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 &amp;quot;Cheng Yiben&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yiben&amp;quot; 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)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
（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。&lt;br /&gt;
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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 &amp;quot;揌&amp;quot; changed to “塞&amp;quot;, &amp;quot;嘴&amp;quot; changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; changed to &amp;quot;拿椅子&amp;quot;, 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)&lt;br /&gt;
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（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, &amp;quot;揌&amp;quot; are changed to &amp;quot;塞&amp;quot;, &amp;quot;嘴&amp;quot; is changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; is changed to &amp;quot;拿椅子&amp;quot; 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)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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。&lt;br /&gt;
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For example, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;, &amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot; 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)&lt;br /&gt;
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For instance, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;,&amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot;, 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 &amp;quot;A Dream of Red Mansions&amp;quot;. 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)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicate position are mixed together, &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , Unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;; and so on.&lt;br /&gt;
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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 &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and in case that  &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, they are unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;respectively ;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicating position are mixed together,and &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, so they are  unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , so they are unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
（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。&lt;br /&gt;
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(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)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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”。&lt;br /&gt;
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 In order to save space, no proofreading will be published. 4、 Annotation question &amp;quot;Annotation&amp;quot; is also called &amp;quot;Annotation&amp;quot;,&lt;br /&gt;
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 &amp;quot;sparse&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 09:11, 30 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlì 日语语言文学 女 202120081562==&lt;br /&gt;
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。&lt;br /&gt;
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Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called &amp;quot;notes&amp;quot;. 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&lt;br /&gt;
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.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
对于一般读者来说，所有这些都可能是阅读中的绊脚石。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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。&lt;br /&gt;
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This annotation is meant to remove the barriers in  reading and make it easier to read.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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：&lt;br /&gt;
In order to save space, I will give just one example. In the fifty-sixth chapter, &amp;quot;Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general&amp;quot;, there is a passage between Jia Tanchun and Xue Baochai discussing the economy:&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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。&lt;br /&gt;
Baochai smiled and said: &amp;quot;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.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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？”&lt;br /&gt;
But if you have all studied and read, haven't you seen Master Zhu's article &amp;quot;Don't Abandon Oneself&amp;quot;?&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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？”&lt;br /&gt;
Tanchun said and smile, &amp;quot;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?&amp;quot;&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
宝钗道：“朱子都行了虚比浮词了？那句句都是有的。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
你才办了两天事，就利欲熏心，把朱子都看虚浮了。&lt;br /&gt;
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)&lt;br /&gt;
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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&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”&lt;br /&gt;
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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&lt;br /&gt;
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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)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
探春笑道：“你这样一个通人，竟没看见《姬子》书？&lt;br /&gt;
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Tan-tschun Smiled and said &amp;quot;you are such a familiar person, but have you read the &amp;quot;Ji Zi&amp;quot; book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)&lt;br /&gt;
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Tan-tschun smiled and said: &amp;quot;You are such a familiar person, but haven't you read the book &amp;quot;Ji Zi&amp;quot;? --[[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)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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。’”&lt;br /&gt;
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On that day, &amp;quot;Jizi&amp;quot; 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. ’&amp;quot;&lt;br /&gt;
--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW&lt;br /&gt;
-EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)&lt;br /&gt;
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There was a saying in ''Himeko'' that day: &amp;quot;Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism.&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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？”&lt;br /&gt;
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Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now that I have read the next sentence out of context, can I blame myself for failing?&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)&lt;br /&gt;
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Translation: Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?&amp;quot;--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。&lt;br /&gt;
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Translation: In this passage, Zhu Xi's &amp;quot;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)&amp;quot; and the book &amp;quot;Ji Zi&amp;quot; are mentioned.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211110_homework&amp;diff=134932</id>
		<title>20211110 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211110_homework&amp;diff=134932"/>
		<updated>2021-12-30T09:07:34Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlì 日语语言文学 女 202120081562 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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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.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:53, 9 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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。&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:36, 8 November 2021 (UTC)&lt;br /&gt;
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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&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
《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。&lt;br /&gt;
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''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&lt;br /&gt;
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''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)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480 ==&lt;br /&gt;
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》）。&lt;br /&gt;
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''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 &amp;quot; 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)&lt;br /&gt;
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Not only did &amp;quot;almost every scholar had a copy of ''A Dream of Red Mansions''&amp;quot; (the first volum of Essay by Pan Zhao, Qing Dynasty), but &amp;quot;Every household recited it, and all women and children knew it&amp;quot; (the sixth volum of ''Preliminary Article Games'' by Miu Liang, Qing Dynasty). In the upper class, the fashion of &amp;quot;If you don't talk about ''A Dream of Red Mansions'', you can read all the poems and books in vain&amp;quot; (''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, &amp;quot;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.&amp;quot; (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)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杜莉娜 Dù Lìnà 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
《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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;encyclopedia&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;encyclopedia&amp;quot; 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)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;real things concealed&amp;quot;, in the twisted way of &amp;quot;false words and village gossips&amp;quot;, 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)&lt;br /&gt;
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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 &amp;quot;real things concealed&amp;quot;, using the twisted way of &amp;quot;false words and village gossips&amp;quot; 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)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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。&lt;br /&gt;
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一、作者问题&lt;br /&gt;
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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 in 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)&lt;br /&gt;
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If I can become a &amp;quot;brick&amp;quot; for &amp;quot;inviting jade&amp;quot;, even if I want to be &amp;quot;a target of all targets&amp;quot; and attract &amp;quot;a thousand arrows&amp;quot;, I will never regret it, because this is also a small dedication to the readers of &amp;quot;A Dream of Red Mansions&amp;quot;. The following is only a brief description of a few specific issues related to the proofreading work.&lt;br /&gt;
1. Author's question--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:06, 17 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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”。&lt;br /&gt;
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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 &amp;quot;writing is used to carry Tao&amp;quot;.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:03, 17 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;literature carries Tao&amp;quot;.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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 &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, 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 &amp;quot;prohibition and destruction&amp;quot;. 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&lt;br /&gt;
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They believed that novels not only can not &amp;quot;educate citizens of Qing Dynasty&amp;quot;, but also often be blessed with &amp;quot;obscenity and theft&amp;quot;, 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 &amp;quot;prohibition and destruction&amp;quot;. 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)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;redologists&amp;quot; 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)&lt;br /&gt;
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 &amp;quot;redologists&amp;quot; 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)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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。&lt;br /&gt;
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The second is the theory of &amp;quot;Cao came to write, Cheng continued to write, Gao to revise&amp;quot;. 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 &amp;quot;Cao came to write, Gao continued to write, Cheng to revise&amp;quot;. 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)&lt;br /&gt;
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The second statement said that &amp;quot;Started by Cao, completed by Chen, and revised by Gao&amp;quot;. 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 &amp;quot;Started by Cao, completed by Gao, and revised by Chen&amp;quot;. 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)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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The fourth statement said that &amp;quot;This masterpiece is started by Cao, completed by someone, and revised by Gao&amp;quot;. 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 &amp;quot;It was started by Cao, and revised by both Cheng and Gao&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:52, 14 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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”。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 22:31, 8 November 2021 (UTC)&lt;br /&gt;
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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)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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。&lt;br /&gt;
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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 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)&lt;br /&gt;
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)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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。&lt;br /&gt;
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二、版本问题&lt;br /&gt;
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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。&lt;br /&gt;
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.&lt;br /&gt;
二、Version problem&lt;br /&gt;
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)&lt;br /&gt;
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As well as the life of the two authors, has been seen in a number of articles, here will not be repeated.&lt;br /&gt;
 Second, the version of the problem because of the &amp;quot;Dream of Red Mansions&amp;quot; creative process and the special nature of the process of circulation, resulting in the &amp;quot;Dream of Red Mansions&amp;quot; version of the complexity.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:36, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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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。&lt;br /&gt;
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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 &amp;quot;reading for ten years, adding and deleting five times&amp;quot;, 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)&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:16, 29 December 2021 (UTC)&lt;br /&gt;
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 &amp;quot;read for ten years, add and delete five times&amp;quot;, 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)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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。&lt;br /&gt;
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 &amp;quot;gengchen Ben&amp;quot; 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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Jia Edition&amp;quot; by Mr.Shi Hu;Lastly, in the following year, E Gao and Weiyuan Cheng revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi Ben&amp;quot; by  Mr.Shi Hu. It is said that there is also &amp;quot;Cheng bing Edition&amp;quot;, which is unknown now. According to someone who have seen it, there are few changes compared with &amp;quot;Cheng Yi Edition&amp;quot;, so it can be set aside.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:22, 7 November 2021 (UTC)Liu Wei&lt;br /&gt;
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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 &amp;quot;Cheng Jia (the first) Editions&amp;quot; by Hu Shi; Lastly, in the following year, Gao E and Cheng Weiyuan revised and republished the &amp;quot;Cheng Jia Edition&amp;quot;, which was later named &amp;quot;Cheng Yi (the second) Edition&amp;quot; by Hu Shi. It is said that there was also &amp;quot;Cheng Bing (the third) Edition&amp;quot;, which now has no whereabouts. According to someone who had once read it, compared with &amp;quot;Cheng Yi Edition&amp;quot;, 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)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
《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)。&lt;br /&gt;
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The special creation and dissemination process of A Dream of Red Mansions leads to the phenomenon of &amp;quot;three many&amp;quot; : 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 &amp;quot;The Story of the Stone&amp;quot; (five versions) or &amp;quot;A Dream of Red Mansions&amp;quot; (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)&lt;br /&gt;
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The special creation and dissemination process of ''A Dream of Red Mansions'' led to a phenomenon called &amp;quot;three many&amp;quot;: 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)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
《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。&lt;br /&gt;
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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)&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 14:32, 14 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi Ben&amp;quot;. Since, when publishing ''Dream of the Red Chamber'', there are still &amp;quot;Redologists&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi Ben&amp;quot;.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)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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。&lt;br /&gt;
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It is noteworthy that all these people wrote about tragic endings, expecially th most important case of &amp;quot; Wood and Stone's Previous Oath&amp;quot;. 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 &amp;quot;reunion superstition&amp;quot; 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)&lt;br /&gt;
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It is most noteworthy that all these characters are created with tragic endings. And as regards the most important case --- &amp;quot;The Pledge in front of Wood and Stone&amp;quot;, 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)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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！&lt;br /&gt;
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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)&lt;br /&gt;
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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 &amp;quot;A Dream of the Red mansion&amp;quot; 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)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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。&lt;br /&gt;
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 &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: From Gao E down, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ...... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;A Dream of the Red Mansion - the impossibility of the continuation of the book&amp;quot; published by the Yadong Library in 1923: Since Gao E, more than a hundred years, so many people have renewed the &amp;quot;A Dream of the Red Mansion&amp;quot;, but they all failed ... I think all books can not be renewed, not only the &amp;quot;A Dream of the Red Mansion&amp;quot; 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)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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。&lt;br /&gt;
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Therefore, his conclusion is: The continuations of &amp;quot;The Dream of Red Mansions&amp;quot; written by the Gao E and others are all &amp;quot;wretched sequels to a masterpiece.&amp;quot; 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)&lt;br /&gt;
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He therefore concludes that the sequels to Dream of the Red Chamber written by the Gao Ospreys are all &amp;quot;dog tails on a marten&amp;quot;, which means a wretched sequels to a masterpiece. Mr. Yu's statement that &amp;quot;all books cannot be renewed&amp;quot; and &amp;quot;all those who renew books will fail&amp;quot; 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)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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。  &lt;br /&gt;
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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)&lt;br /&gt;
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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. &amp;quot;Failed, failed gloriously!&amp;quot; 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)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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。&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 09:14, 7 November 2021 (UTC)&lt;br /&gt;
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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)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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。&lt;br /&gt;
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Although some recent &amp;quot;new Redologists&amp;quot; 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 &amp;quot;reunion&amp;quot; novel.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:45, 9 November 2021 (UTC)&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:25, 9 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;reunion&amp;quot; novel. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:17, 10 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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 &amp;quot;Cheng Jiabo edition&amp;quot; and &amp;quot;Cheng Yibo edition&amp;quot;, which were published only about a year apart.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 05:17, 12 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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。&lt;br /&gt;
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Which of these two versions is better? Of course, it is &amp;quot;Cheng B&amp;quot;, because it is gao e to &amp;quot;Cheng A&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yiben&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; 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)&lt;br /&gt;
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Which version is better? Of course, it is &amp;quot;Cheng Yi&amp;quot;, because it is gao e to &amp;quot;Cheng Jia&amp;quot; carefully revised final version. Cheng Weiyuan and Gao E said in &amp;quot;Cheng Yi&amp;quot; &amp;quot;DREAM of Red Mansions&amp;quot; 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)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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。&lt;br /&gt;
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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, &amp;quot;because he was anxious to be good to the public&amp;quot;, he failed to &amp;quot;review for ten years, add and delete five times&amp;quot; as Cao Xueqin did.Hurriedly,he did not proofread carefully in the process of typesetting, so that &amp;quot;mistakes&amp;quot; were inevitable.Therefore, he immediately revised and reprinted it, resulting in &amp;quot;the version of Cheng Yi&amp;quot;. It can be seen that &amp;quot;the version of Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;the version of Cheng Jia&amp;quot;, which is naturally better than &amp;quot;the version of Cheng Jia&amp;quot;.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 02:57, 10 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;Cheng Yi (the second) Edition&amp;quot;. It can be seen that &amp;quot; Cheng Yi&amp;quot; is a book to revise the &amp;quot;mistakes&amp;quot; of &amp;quot;Cheng Jia (the first) Edition&amp;quot;, which is naturally better than &amp;quot;Cheng Jia&amp;quot;.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:43, 13 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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。&lt;br /&gt;
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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) &lt;br /&gt;
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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)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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。&lt;br /&gt;
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Mr.Hushi wrote &amp;quot;A Preface for the Re-printed Qianlong Renzi Edition of ''A Dream in Red Mansions''&amp;quot; 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)&lt;br /&gt;
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Mr.Hushi has written ''A Preface for the Re-printed Qianlong Renzi Version of &amp;quot;''A Dream in Red Mansions''&amp;quot;'' 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)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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。&lt;br /&gt;
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Mr.Wang Yuanfang also lived up to the great trust of Mr.Hu Shi. He not only published &amp;quot;Cheng Yiben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Yiben&amp;quot;, and changed the statistics and specific examples (see below for details), further proving that &amp;quot;Cheng Yiben&amp;quot; was better than &amp;quot;Cheng Jiaben&amp;quot;. Because Mr.Hu Shi's academic prestige and Mr.Wang Yuanfang's &amp;quot;Cheng Yiben&amp;quot; were published, especially &amp;quot;Cheng Yiben&amp;quot; was indeed better than &amp;quot;Cheng Jiaben&amp;quot;, so most booksellers abandoned &amp;quot;Cheng Jiaben&amp;quot; and competed to print &amp;quot;Cheng Yiben&amp;quot;, &amp;quot; Cheng Yiben &amp;quot; 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)&lt;br /&gt;
Mr. Wang Yuanfang also lived up to Mr. Hu Shi's great trust. He not only published &amp;quot;Cheng Yi Ben&amp;quot;, but also carefully surveyed the two &amp;quot;Cheng Ben&amp;quot;, and further proved that &amp;quot;Cheng Yi Ben&amp;quot; was better than &amp;quot;Cheng Jia Ben&amp;quot; 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 &amp;quot;Cheng Yi Ben&amp;quot; ordered by Mr. Wang Yuanfang, especially &amp;quot;Cheng Yi Ben&amp;quot; is indeed better than &amp;quot;Cheng Jia Ben&amp;quot;, most booksellers abandoned &amp;quot;Cheng Jia Ben&amp;quot; and competed to publish &amp;quot;Cheng Yi Ben&amp;quot; and &amp;quot;Cheng Yi Ben&amp;quot; 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)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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。&lt;br /&gt;
However, after the 1980s, the situation of &amp;quot;Cheng Yi Ben&amp;quot; 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 &amp;quot;Cheng Jia Ben&amp;quot; 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.&lt;br /&gt;
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However, after the 1980s, the dominating situation of &amp;quot;Cheng Yi version&amp;quot;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)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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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 &amp;quot;Cheng Yi's version&amp;quot; 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)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; Here goes another saying: at that time I recalled the time when I in the foot of Dahuangshan Mountain, and I felt so lonely.&lt;br /&gt;
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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 &amp;quot;See nothing but scent lingering, flowers blossoming, lights glistening and bustle hustleing.WHat a stable and flourish society!&amp;quot; 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)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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. &lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 10:13, 13 November 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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。&lt;br /&gt;
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What is particularly absurd is that, from the following words &amp;quot;all the audience&amp;quot;, 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. &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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Such incoherent poor text, not Cao Xueqin Autor's original text, but the copy of the wrong copy or channelized text. &amp;quot;Cheng Yi version&amp;quot; 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)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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？&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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”。&lt;br /&gt;
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However, the Zhi Yanzhai's critiques unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really big eyes and a big deal.&amp;quot; If this is not an accidental mistake, it can only be said to be ungrateful. If &amp;quot;Cheng Yi version&amp;quot; deletes it, it can be regarded as a comment of &amp;quot;big eyes and a big deal&amp;quot;. 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 &amp;quot;Xiao Tu Fan er&amp;quot; and how to change &amp;quot;the surname and name of Quan Rong&amp;quot;.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:21, 7 November 2021 (UTC)&lt;br /&gt;
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However, critiques of Zhi Yanzhai(one of the earliest critics of &amp;quot;A Dream in Red Mansions&amp;quot; )  unexpectedly praised: &amp;quot;Snatch a little leisure from a busy writing , which is really weighty.&amp;quot; If it is not an accidental mistake, it can only be said to be ungrateful. &amp;quot;Cheng Yi version&amp;quot; deletes it, thus it can be regarded as the comment of &amp;quot;weighty writings&amp;quot;. 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 &amp;quot;Xiao Tu Fan er&amp;quot; and how they change &amp;quot;the name of Quan Rong&amp;quot; just for fun.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:43, 8 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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。&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Precious Jade Merchant said that&amp;quot;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.&amp;quot; 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 &amp;quot;Cheng Yi's version&amp;quot; to delete these words.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:05, 8 November 2021 (UTC)&lt;br /&gt;
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What's more, in Zhi Yangzhai's version, Baoyu even said things like this:&amp;quot;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.&amp;quot; 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&amp;amp;Gao's second version to delete these words.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 06:07, 12 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;some x hairs&amp;quot;,&amp;quot;some nasty voices&amp;quot; are also included at the same time，that's why the Cheng&amp;amp;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&amp;amp;Gao's second version are better than ones in the original. Moreover, in terms of the two versions of Cheng&amp;amp;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)&lt;br /&gt;
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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 &amp;quot;a few pubic hair&amp;quot;, &amp;quot;obscene voice&amp;quot; of foul language, so &amp;quot;Cheng B book &amp;quot;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 &amp;quot;Cheng B book&amp;quot; is better than the original is hard to be denied by anyone. Secondly, in terms of the two &amp;quot;Cheng books&amp;quot;, since the &amp;quot;Cheng B book&amp;quot; is a revised version of the &amp;quot;Cheng A book&amp;quot;, it is naturally more perfect.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:37, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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。&lt;br /&gt;
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About this point, the strongest evidence is a set of readily available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; and made statistics on the differences between the two texts, and the result was: &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot; 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 &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the &amp;quot;Cheng A book&amp;quot; in the &amp;quot;error&amp;quot; text to correct.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:38, 12 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The strongest evidence for this is a set of available statistics. As mentioned earlier, Mr. Wang Yuanfang in 1927 compared the &amp;quot;Cheng B book&amp;quot; with the &amp;quot;Cheng A book&amp;quot; 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 &amp;quot;Cheng B book&amp;quot; compared with &amp;quot;Cheng A book&amp;quot;, including 15537 words changed in the first eighty chapters, and 5969 words changed in the last forty chapters. (Refer to Wang Yuanfang &amp;quot;reprinted Qianlong nonzi book&amp;quot; after reading &amp;quot;Dream of the Red Chamber&amp;quot;) These changes are mainly in three aspects: one, is the modification of the &amp;quot;error&amp;quot; text in Cheng A book.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:03, 12 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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。&lt;br /&gt;
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For example, the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; in chapter 2, &amp;quot;Cheng Jia's translation version&amp;quot; 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 &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:23, 8 November 2021 (UTC)&lt;br /&gt;
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For example, in the &amp;quot;Leng Zixing's speech in Rong Mansion&amp;quot; from chapter 2, the following text of the original work remained intact in &amp;quot;Cheng Jia(the first)edition&amp;quot;: Mrs Wang, the wife of Lord Zheng …… 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 &amp;quot;girl&amp;quot; is First Spring Merchant (Yuan Concubine), while the &amp;quot;boy&amp;quot; is Precious Jade Merchant.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 10:39, 11 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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。&lt;br /&gt;
“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。&lt;br /&gt;
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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, &amp;quot;like mother and son&amp;quot;,could not be only one year apart,so there is an obvious &amp;quot;mistake&amp;quot;in the paragraph from the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 11 November 2021 (UTC)&lt;br /&gt;
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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 &amp;quot;mistake&amp;quot; in the paragraph of the second chapter. Therefore, it is reasonable to change &amp;quot;the following year&amp;quot; into &amp;quot;more than a decade after&amp;quot; in &amp;quot;Cheng Yi(the second) Edition&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 01:53, 12 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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。&lt;br /&gt;
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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: &amp;quot;ruo&amp;quot; was translated into &amp;quot;yao&amp;quot;(if), &amp;quot;yu&amp;quot; into &amp;quot;yao&amp;quot;(to), &amp;quot;yi&amp;quot; into &amp;quot;ye&amp;quot;(also), &amp;quot;ci&amp;quot; into &amp;quot;zhe&amp;quot;(this), &amp;quot;kou&amp;quot; into &amp;quot;zui&amp;quot;(mouth),&amp;quot;he&amp;quot; into &amp;quot;wei shen me&amp;quot;(why), &amp;quot;ru he&amp;quot; into &amp;quot;zen me&amp;quot;(how), &amp;quot;ru ci&amp;quot; into &amp;quot;zhe me zhao&amp;quot;(in this way), &amp;quot;weisui&amp;quot; into &amp;quot;weisuo&amp;quot;(obscene) and so on. Thirdly, lots of &amp;quot;er&amp;quot; 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)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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。&lt;br /&gt;
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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  &amp;quot;Cheng Yi's translation version&amp;quot;, 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)&lt;br /&gt;
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)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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。&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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。&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that Jia Yuanchun was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;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.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:17, 8 November 2021 (UTC)&lt;br /&gt;
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In fact, due to the negligence of Gao'e and Cheng Weiyuan, or the mistakes made by typesetters, there are still many &amp;quot;mistakes&amp;quot; in &amp;quot;Chengyi version&amp;quot;. For example, the eighty-sixth chapter expounds that  First Spring Merchant was born in &amp;quot;Bingyin, the first month of the year Jiashen&amp;quot;. To the 95th chapter it expounds that &amp;quot;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.&amp;quot;, which are the same both in &amp;quot;Chengjia version&amp;quot; and &amp;quot;Chengyi version&amp;quot;.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised.&lt;br /&gt;
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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 &amp;quot;Cheng Jia version&amp;quot; is wrong, and the &amp;quot;Cheng Yi version&amp;quot; has not been revised either.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:37, 8 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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。&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yi Version&amp;quot; （a version of &amp;quot;A Dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong library as early as 1927.  It is ironic that many &amp;quot;Cheng Jia Version&amp;quot; and &amp;quot;Cheng Yi Version&amp;quot;  published after the 1980s, including those patchwork books, still retain this mistake. In fact, there are many other word mistakes in &amp;quot;Cheng Yi Version&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yi Version&amp;quot; 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)&lt;br /&gt;
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This obvious mistake was corrected in “Cheng Yiben&amp;quot; （a version of &amp;quot;a dream of Red Mansions&amp;quot;） checked by Wang Yuanfang and published by Yadong Library as early as 1927.  It is ironic that many &amp;quot;Cheng Jiaben&amp;quot; and &amp;quot;Cheng Yiben&amp;quot;, 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 &amp;quot;Cheng Yiben&amp;quot;, which is not “absolutely right after revision” as Gao E and Cheng Weiyuan said. &amp;quot;Cheng Yiben&amp;quot; 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)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
（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。&lt;br /&gt;
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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 &amp;quot;揌&amp;quot; changed to “塞&amp;quot;, &amp;quot;嘴&amp;quot; changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; changed to &amp;quot;拿椅子&amp;quot;, 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)&lt;br /&gt;
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（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, &amp;quot;揌&amp;quot; are changed to &amp;quot;塞&amp;quot;, &amp;quot;嘴&amp;quot; is changed to &amp;quot;努嘴&amp;quot;, &amp;quot;椅子&amp;quot; is changed to &amp;quot;拿椅子&amp;quot; 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)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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。&lt;br /&gt;
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For example, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;, &amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot; 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)&lt;br /&gt;
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For instance, &amp;quot;必真&amp;quot; is changed to &amp;quot;逼真&amp;quot;, &amp;quot;奈烦&amp;quot; is changed to &amp;quot;耐烦&amp;quot;, &amp;quot;悔气&amp;quot; is changed to &amp;quot;晦气&amp;quot;,&amp;quot;渥&amp;quot; is changed to &amp;quot;握 &amp;quot;, &amp;quot;焐&amp;quot; is changed to &amp;quot;捂&amp;quot;, 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 &amp;quot;A Dream of Red Mansions&amp;quot;. 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)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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。&lt;br /&gt;
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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 &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicate position are mixed together, &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , Unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;; and so on.&lt;br /&gt;
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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 &amp;quot;么&amp;quot; equivalent to the number &amp;quot;一&amp;quot; is easily confused with the &amp;quot;么&amp;quot; of &amp;quot;什么&amp;quot; and &amp;quot;怎么&amp;quot;, so it is changed to &amp;quot;幺&amp;quot;. Another example is the mixed use of &amp;quot;一会&amp;quot; and &amp;quot;一回&amp;quot; for time, and in case that  &amp;quot;一会儿&amp;quot; and &amp;quot;一回儿&amp;quot; are mixed together, they are unified into &amp;quot;一会&amp;quot; and &amp;quot;一会儿&amp;quot;respectively ;&amp;quot;旁&amp;quot; and &amp;quot;傍&amp;quot; to indicating position are mixed together,and &amp;quot;旁边&amp;quot; and &amp;quot;傍边&amp;quot; are mixed together, so they are  unified into &amp;quot;旁&amp;quot; and &amp;quot;旁边&amp;quot;; &amp;quot;赔礼&amp;quot; and &amp;quot;陪礼&amp;quot; are mixed together, and &amp;quot;赔罪&amp;quot; and &amp;quot;陪罪&amp;quot; are mixed together , so they are unified into &amp;quot;赔礼&amp;quot; and &amp;quot;赔罪&amp;quot;etc.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:49, 13 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
（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。&lt;br /&gt;
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(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)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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”。&lt;br /&gt;
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==邹岳丽 Zōu Yuèlì 日语语言文学 女 202120081562==&lt;br /&gt;
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。&lt;br /&gt;
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Later, the scope was gradually expanded to explain the difficult words and sentences in all documents, which were called &amp;quot;notes&amp;quot;. 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&lt;br /&gt;
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.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
对于一般读者来说，所有这些都可能是阅读中的绊脚石。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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。&lt;br /&gt;
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This annotation is meant to remove the barriers in  reading and make it easier to read.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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：&lt;br /&gt;
In order to save space, I will give just one example. In the fifty-sixth chapter, &amp;quot;Min Tanchun prospering the benefits and eliminating the disadvantages, Xian Baochai and Xiaohui are all in general&amp;quot;, there is a passage between Jia Tanchun and Xue Baochai discussing the economy:&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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。&lt;br /&gt;
Baochai smiled and said: &amp;quot;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.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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？”&lt;br /&gt;
But if you have all studied and read, haven't you seen Master Zhu's article &amp;quot;Don't Abandon Oneself&amp;quot;?&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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？”&lt;br /&gt;
Tanchun said and smile, &amp;quot;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?&amp;quot;&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
宝钗道：“朱子都行了虚比浮词了？那句句都是有的。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
你才办了两天事，就利欲熏心，把朱子都看虚浮了。&lt;br /&gt;
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)&lt;br /&gt;
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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&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
你再出去，见了那些利弊大事，越发连孔子也都看虚了呢！”&lt;br /&gt;
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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&lt;br /&gt;
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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)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
探春笑道：“你这样一个通人，竟没看见《姬子》书？&lt;br /&gt;
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Tan-tschun Smiled and said &amp;quot;you are such a familiar person, but have you read the &amp;quot;Ji Zi&amp;quot; book?--[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:41, 7 November 2021 (UTC)&lt;br /&gt;
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Tan-tschun smiled and said: &amp;quot;You are such a familiar person, but haven't you read the book &amp;quot;Ji Zi&amp;quot;? --[[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)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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。’”&lt;br /&gt;
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On that day, &amp;quot;Jizi&amp;quot; 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. ’&amp;quot;&lt;br /&gt;
--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)EI MON KYAW&lt;br /&gt;
-EI MON KYAW-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 13:52, 6 November 2021 (UTC)&lt;br /&gt;
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There was a saying in ''Himeko'' that day: &amp;quot;Deng LiLu, and those who operate in this realm, steal the words of Yao and Shun, and memorize Confucianism.&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:38, 7 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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？”&lt;br /&gt;
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Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now that I have read the next sentence out of context, can I blame myself for failing?&amp;quot;--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:39, 7 November 2021 (UTC)&lt;br /&gt;
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Translation: Bau-tschai smiled: &amp;quot;What about the next three sentences?&amp;quot; Tan-tschun smiled: &amp;quot;Now I take the next sentence out of context, and if I read the next sentence out of context, I can't blame myself?&amp;quot;--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 11:20, 7 November 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
在这段话中，提到了朱熹的《不自弃文》，还有《姬子》一书。&lt;br /&gt;
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Translation: In this passage, Zhu Xi's &amp;quot;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)&amp;quot; and the book &amp;quot;Ji Zi&amp;quot; are mentioned.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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。&lt;br /&gt;
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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)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211027_homework&amp;diff=134923</id>
		<title>20211027 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211027_homework&amp;diff=134923"/>
		<updated>2021-12-30T08:11:26Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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或因祖父昔日微嫌，追念旧恶，必图报复，……诚恐朕之宗室，日流日下，不知前鉴，深用为忧，是以亟筹保全之道。若非立学设教，鼓舞振兴，循循善诱，安能使之改过迁善，望其有成。（鄂尔泰等，1985：310）上谕中，雍正帝明确阐述了设立宗学的前因后果，将其当作鼓舞人心，劝善惩恶的手段。&lt;br /&gt;
Or because of grandfather ' s past suspicion, they will recall the bad memory and have the revenge plan …, I am in fear of the fact that the clan will worsen with the unknowing of the past and the concern of use, thus hoping to pose a solution to it for the preservation. If we do not teach by school, encourage revitalization, follow the good temptation, we could not make it better to change the situation. ( Eertai and so on., 1985 : 310 ) In the oracle, Emperor Yongzheng clearly stated the causes and consequences of the establishment of the sect as a means of encouraging people and encouraging good and punishing evil.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 02:00, 31 October 2021 (UTC)&lt;br /&gt;
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Or because my grandfather was a little suspicious in the past, he remembered the old enmity and would try to revenge,... I sincerely fear that my clan will flow day by day. I don't know what to learn from the past and worry about using it deeply. This is the way to save it urgently. If we don't set up learning and teaching, encourage and revitalize, and give good guidance, we can’t make it change its ways and change it to be good, and hope it will succeed. (ertai etc.1985:310) in the Oracle, Emperor YongZheng clearly expounded the causes and consequences of the establishment of patriarchal school as an inspiring means to advise to be good and penalize the vicious.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:04, 31 October 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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其二，清代的旗学教育名目繁多，机构林立，其中不少仅教习满语、骑射等维护民族特质的科目，但教习满、汉翻译或者满、蒙翻译者也有不少，为国家培养了不少语言人才。创设八旗官学，令八旗弟子学习语言（满文、蒙文和汉文）、翻译和骑射等，既不失满洲特色，又增进民族交流，对呈现满洲特色的统治特征，扩大政权的参与基础等，皆有意义。众所周知，顺治时期，虽然清军已经入关，满清王朝渐趋形成，但有碍统治的许多问题仍未解决，如溃散以后的李自成余党、盘踞各地的地方势力、南明政权的继续存在，以及社会秩序的恢复与重建，种种难题使得满洲统治者不得不与汉人合作，与后者共同参与国家治理与制度重构。&lt;br /&gt;
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Second, there were many sorts and institutions of Manchu education in the Qing Dynasty, many of which only taught Manchu, riding and shooting and other subjects to maintain national characteristics, but there were also many Manchu, Chinese translation or Manchu and Mongolian translators, which trained a lot of language talents for the country. The establishment of the Eight Banners official school enables the Eight Banners' disciples to learn languages (Manchu, Mongolian and Chinese), translation, riding and shooting, which not only does not lose the characteristics of Manchu,but also enhances national communications.It is of significance to present the ruling characteristics of Manchu and expand the participation foundation of the political power. As we all know, during the Shunzhi period, although the Qing army had entered the Han and the Manchu and Qing Dynasty were gradually formed, many problems hindering the rule remained unresolved, such as the collapse of the remaining Party of Li Zicheng, the local forces entrenched everywhere, the continued existence of the Nanming regime, and the restoration and reconstruction of social order. Various problems forced the Manchu rulers to cooperate with the Han people, and Participate in national governance and institutional reconstruction with them.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 04:13, 24 October 2021 (UTC)&lt;br /&gt;
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Second, the Qing Dynasty’s banner education had many titles and institutions. Many of them only taught Manchu, riding and shooting and other subjects that maintained national characteristics, but there were also many people who taught Manchu, Chinese translation or Manchu and Mongolian translators. Many language talents have been trained. The establishment of the Eight Banners Official School allows the Eight Banners disciples to learn languages ​​(Manchu, Mongolian and Chinese), translation and riding and shooting, etc., without losing the characteristics of Manchuria, but also enhancing ethnic exchanges, presenting the characteristics of Manchuria’s governance, and expanding the basis for participation in the regime, etc. , It makes sense. As we all know, during the Shunzhi period, although the Qing army entered the Pass and the Manchu and Qing dynasties gradually formed, many problems that hindered the rule of the government remained unresolved, such as the collapse of the Li Zicheng Yu party, the local forces entrenched in various places, the continued existence of the Nanming regime, and The restoration and reconstruction of social order and various problems made the Manchu rulers have to cooperate with the Han people and participate in national governance and system reconstruction with the latter.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:55, 26 October 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男202120081478==&lt;br /&gt;
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为此，便需要八旗人等具备多语种能力，一则为沟通政事，二则为学习汉制，这一点与官学的功能高度契合。加之康熙中期以前，汉族知识分子中对于异族政权无法释怀者不在少数，这些人具有明确的使命感，虽然表面上对满洲政权采取合作态度，心中却希望在统治者的支持下，维护、发扬汉族文化。而统治者为了巩固统治，虽然不得已在满、汉之间寻找平衡点，考量汉族士子和汉民利益，以免因失去民心危及政权稳定，但为了维护统治集团的特殊地位，又不得不牺牲汉人利益，而旗、民分治，创办官学，倡导国语骑射，正可以保持满洲的民族特质，抵御汉文化冲击。&lt;br /&gt;
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Therefore, it is necessary for the people of the eight banners to have multilingual ability, one is to communicate political affairs, the other is to learn the Han system, which is highly consistent with the function of the official school. In addition, before the middle of Kangxi, there were many Han intellectuals who could not let go of the alien regime. These people had a clear sense of mission. Although they ostensibly took a cooperative attitude towards the Manchu regime, they hoped to maintain and carry forward the Han culture with the support of the rulers. In order to consolidate their rule, the rulers had to find a balance between Manchu and Han, considering the interests of Han Scholars and Han people, so as not to endanger the stability of political power due to the loss of popular support. However, in order to maintain the special status of the ruling group, they had to sacrifice the interests of Han people. The national characteristics of Manchuria can be maintained by dividing the eight banners and the people, establishing official schools and advocating Manchu language, horse-riding and archery to resist the impact of Chinese culture.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:44, 26 October 2021 (UTC)&lt;br /&gt;
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Therefore, it is necessary for the people of the eight banners to have multilingual ability. One is to communicate political affairs, the other is to learn the Han system, which is highly consistent with the function of the official school. In addition, before the middle of Kangxi, there were not a few Han intellectuals who could not let go of the alien regime. These people had a clear sense of mission. Although they ostensibly took a cooperative attitude towards the Manchu regime, they hoped to maintain and carry forward the Han culture with the support of the rulers. In order to consolidate their rule, the rulers had to find a balance between Manchu and Han, considering the interests of Han Scholars and Han people, so as not to endanger the stability of political power due to the loss of popular support. However, in order to maintain the special status of the ruling group, they had to sacrifice the interests of Han people. The national characteristics of Manchuria can be maintained by dividing the eight banners and the people, establishing official schools and advocating Manchu language, horse-riding and archery to resist the impact of Chinese culture.&lt;br /&gt;
--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 15:31, 26 October 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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总之，旗学之兴，乃是睦族敦宗，加恩八旗之举，客观上促进了民族交流，为朝廷广育人才。3.顺治以前的翻译人才培养与使用。清太祖、太宗年间，朝中通晓满、蒙、汉语者，不乏其人，如达海、额尔德尼和希福等，这些人多来自归附的海西女真，即扈伦四部（哈达、乌拉、叶赫、辉发）。&lt;br /&gt;
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In a word, the prosperity of Qi School is actually an act of the thriving of ancestry and the favor of Eight Banners, which objectively promotes the communication among nations so as to cultivate talents for the royal. 3. The cultivation and the employment of talented translators before  Emperor Shuizhi. In the years of the Emperor  of Qing Taizhu and Qing Taizhong, there were many people who got a good acquittance of the language of Man, Meng and Han in the imperial court, such as Da Hai, Etden, XiFu and so on. Most of them came from the affiliated Nuzhen of the west China sea, namely, the Four Horun tribes. (Hada, Wula, YeHe, and HuiFa).--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 02:41, 24 October 2021 (UTC)Chen Huini&lt;br /&gt;
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In a word, the prosperity of Qi School is actually an act of the thriving of ancestry and the favor of Eight Banners, which objectively promotes the communication among nations so as to cultivate talents for the royal. 3. The cultivation and the employment of talented translators before  Emperor Shuizhi. In the years of the Emperor  of Qing Taizhu and Qing Taizhong, there were many people who got a good acquittance of the language of Man, Meng and Han in the imperial court. For example ,Da Hai, Etden, XiFu and so on, Most of them came from the affiliated Nuzhen of the west China sea, namely, the Four Horun tribes. (Hada, Wula, YeHe, and HuiFa).--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:21, 27 October 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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由于地理位置特殊，民族互动频密，这些人养成了多语种能力，其中多数在朝廷充任翻译、文书、外交之职。例如，来自扈伦哈达部的硕色和希福兄弟，因兼通满、蒙、汉文字，一个奉命在文馆行走，另一个奉命出使蒙古诸国。硕色的长子索尼也因早承家学，兼通满、蒙、汉文字，在文馆办事。&lt;br /&gt;
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Because of special geographic location and frequent communication among nations, these people developed multilingual abilities and most of them worked as translator, amanuensis, and diplomatist in the imperial court. For example, Shuo Se and Xi Fu brothers from Hada were able to use Man, Meng and Han languages, so that  one of them was recommended to work for the research institute of culture and the other was sent to visit Mongolia. Also, the big son of Shuo Se inherited his fathers job for the same linguistic ability.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 02:52, 22 October 2021 (UTC)&lt;br /&gt;
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Due to the special geographical location and frequent ethnic interaction, these people developed multilingual ability, most of them served as translators, clerks and diplomats in the imperial court. For example, Shuose and Xifu brothers from the Hulunghada tribe, because they were fluent in both Manchu, Mongolian and Chinese, one was ordered to work in the government office of the early Qing dynasty, and the other was ordered to go to the Mongolian countries. Shuose's eldest son Soni worked in the government office because of early family education and fluent in Manchu, Mongolian and Chinese. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:38, 25 October 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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随着国家政权的逐步扩大，内政外交的日益繁复，翻译与文书工作大幅增加，仅仅依靠归附者群体中的语言人才已然不够，自行培养势在必行。于是，天聪年间，朝廷规定八旗子弟循例读书，并令汉人中的儒生俊秀入文馆肄业。即便如此，因文馆官员政事冗繁，管理不善，八旗笔帖式及文馆臣僚中，通晓翻译者仍不敷任用。&lt;br /&gt;
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With the gradual expansion of state power and the increasing complexity of domestic and foreign affairs, translation and paperwork increased dramatically, relying only on the language talents of the subordinate groups was no longer enough, and it was imperative to cultivate them on their own. Therefore, during the Tiancong period, the court stipulated that the eight banners' children should study as a rule, and made the Confucian scholars among the Han population to enter the government office of the early Qing dynasty to study. Even so, because of the redundancy of the officials of the government office, the management was not good, and the one who is skilled in translating was still not enough to appoint among the eight banners and the bureaucrats of the government office.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:25, 25 October 2021 (UTC)&lt;br /&gt;
With the gradual expansion of state power and the increasing complexity of domestic and foreign affairs, translation and paperwork increased dramatically. Relying only on the language talents of the subordinate groups was no longer enough, and it was imperative to cultivate them on their own. Therefore, during the Tiancong period, the court stipulated that the Eight Banners’ children should study as a rule, and made the Confucian scholars among the Han population to enter the government office of the early Qing dynasty to study. Even so, because of the redundancy of the affairs of government officials and mismanagement, the one who mastered translation was still not enough to appoint among the Eight Banners and the bureaucrats of the government office.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 03:12, 27 October 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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如天聪六年九月，书房（即文馆）秀才王文奎奏称：“至若翻译之笔帖式，在书房之通文理者，止恩国太一人。”（罗振玉，1989：329-330）礼部汉官王舜也以翻译人才不济为由，奏请“尽搜国中识汉字者”，“考其识见才调”，并“拣选实学秀才朝夕讲论”，认为只有这样才能使“今日之小榜什（笔帖式）”成为“后日之大榜什（巴克什）矣”。（同上：338）为缓解国家政务对于翻译人才需求的压力，太宗于天聪八年晓谕礼部考取举人十六名，从事满书、汉书、蒙古书的学习。&lt;br /&gt;
For example, in the sixth year of Tian Cong, the reign title of Qing Dynasty, a scholar of the study, that is, the government official, Wang Wenkui submitted memorials to the throne: “As for the mention of Bi Tieshi engaged in translation, who were low-level civilian officials of Qing Dynasty, only En Taiguo was the one who thoroughly understood the unity and coherence of writing.” (Luo Zhenyu, 1989: 329-330) The Han officials in the Ministry of Rites, Wang Shun, also took the reason of lack of translation talents submitting to the throne for “did their best to search people who could recognize chinese characters”, “tested their knowledge and experiences” and “selected government officials who owned real quality to discuss day and night”. And he held the view that only in these ways could we made “Small Bang Shi ( Bi Tieshi) today” turned into “Big Bang Shi later (Ba Keshi)”. (Id. :338) In order to alleviate the pressure of national government affairs on the demand for translation talents, in the eighth year of Tian Cong reign title, Taizong, emperor of Qing Dynasty, gave explicit instructions to the Ministry of Rites to examine and select 16 candidates in the empirical examination who would engage in the study of books of Manchu, Han and Mongol.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:58, 27 October 2021 (UTC)&lt;br /&gt;
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For example, in December, the sixth year of Tian Cong, the reign title of Qing Dynasty, scholar of the study and government official, Wang Wenkui submitted memorials to the emperor: “As for translation in Bi Tieshi, only En Taiguo was the one who thoroughly understood the unity and coherence of writing.” (Luo Zhenyu, 1989: 329-330) For lack of translation talents, the Han official in the Ministry of Rites, Wang Shun, also appealed to the emperor for “do their best to search people who could recognize chinese characters”, “test their knowledge and experience” and “select government officials who owned real quality to discuss day and night”. He also held the view that only in these ways could we made “Small Bang Shi ( Bi Tieshi) today” turned into “Big Bang Shi later (Ba Keshi)”. (Id. :338) In order to alleviate the pressure of national government affairs on the demand for translation talents, in the eighth year of Tian Cong reign title, Taizong, emperor of Qing Dynasty, gave explicit instructions to the Ministry of Rites to examine and select 16 candidates in the empirical examination to engage in the study of books of Manchu, Han and Mongol.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:50, 27 October 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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崇德三年、六年，又两次考取举人十七人、生员一百零五人。此两次考试虽系满洲、蒙古、汉军“同为一榜”，但内容上却是“互考汉文、满文”，其取士额数虽少，却是朝廷招募翻译、文书人员的重要来源。以《辽》、《金》、《元》史的翻译为例，三书的满文译本于顺治元年进呈，因此而受赏者达十六人。&lt;br /&gt;
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In the third and sixth year of Chongde Emperor, 17 Ju Ren (a successful candidate in the imperial examinations at the provincial level) and 105 Xiu Cai (one woh passed the imperial examination at the county level) were enrolled. Though Manchu, Mongolia and soldiers of Han were on the same list in the two examinations, the content of examinations was mutual translation of language of Han ethnic and Manchu. The examination regime is the important means to recruit interpreters and clerical staff in despite of its few enrollment quota. Taking the translation of ''History of Liao Dynasty'', ''History of Jin Dynasty'' and ''History of Yuan Dynasty'' for example, the Manchu version of these three books were submitted in the first year of Shunzhi and the 16 people participating in this translation project granted a reward. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:36, 23 October 2021 (UTC)&lt;br /&gt;
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In the third and sixth year of Chongde Emperor, holding two examinations, 17 Ju Ren (a successful candidate in the imperial examinations at the provincial level) and 105 Xiu Cai (one who passed the imperial examination at the county level) were enrolled. Though Manchu, Mongolia and  Han  all took the two examinations, the content of examinations was mutual translation of language of Han and Manchu.This examination regime is  an important means to recruit interpreters and clerical staff in despite of its few enrollment quota. Taking the translation of ''History of Liao Dynasty'', ''History of Jin Dynasty'' and ''History of Yuan Dynasty'' for example, the Manchu version of these three books were submitted in the first year of Shunzhi and 16 people participating in this translation project were granted a reward. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:56, 24 October 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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《清实录·世祖章皇帝实录》中，对此事的记载如下：赐大学士希福鞍马一匹、银四十兩；学士胡球、查布海、王文奎、员外郎刘弘遇、他赤哈比帖式能图、叶成格（又名宜成格）马各一匹、银三十兩；铿特、卜尔凱、卦尔察銀各四十兩；卞为凤、科尔科代、尼满銀各三十兩，硕尔格、刘朝卿、李允昌銀各二十兩。（鄂尔泰等，1985：49）上述十六人中，出身举人、生员者七人。&lt;br /&gt;
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In ''Veritable Records of Qing Dynasty ·Veritable Records of Shunzhi  Emperor'', this event was reported as follows: Grand Secretary Xi Fu was awarded a side horse and forty taels of silver; secretaries like Hu Qiu, Cha Buhai and Wang Wenkui and vice directors like Liu Hongyu, Ta chi ha bi tie shi neng tu and Ye Chengge (also called Yi Chengge) were respectively awarded a horse and thirty taels of silver; Keng Te, Bo Erkai and Gua Ercha forty taels of silver; Bian Weifeng, Kolkoday and Ni Man thirty taels of silver, Shuo Erge, Liu Chaoqin and Li Yunchang twenty taels of silver.(E‘ertai,et al,1985:49) Sixteen people mentioned above include seven ones who were Juren (one who is a successful candidate in the imperial examinations at the provincial level)or Xiucai(one who passes the imperial examinations at the county level).--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:21, 22 October 2021 (UTC)&lt;br /&gt;
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In ''Veritable Records of Qing Dynasty ·Veritable Records of Shunzhi  Emperor'', this event was reported as following: Grand Secretary Xi Fu was awarded a side horse and forty taels of silver; secretaries like Hu Qiu, Cha Buhai and Wang Wenkui and vice directors like Liu Hongyu, Ta chi ha bi tie shi neng tu and Ye Chengge (also called Yi Chengge) were respectively awarded a horse and thirty taels of silver; Keng Te, Bo Erkai and Gua Ercha forty taels of silver; Bian Weifeng, Kolkoday and Ni Man thirty taels of silver, Shuo Erge, Liu Chaoqin and Li Yunchang twenty taels of silver.(E‘ertai,et al,1985:49) Sixteen people mentioned above include seven ones who were Juren (one who is a successful candidate in the imperial examinations at the provincial level)and Xiucai(one who passes the imperial examinations at the county level).----[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:33, 1 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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其中，查布海为天聪八年举人，胡球和王文奎为崇德三年举人，卞为凤为崇德六年举人，铿特为崇德三年生员（列二等），叶成格和科尔科代则为崇德六年生员，分列三等和一等。由于汉书翻译向来任重道远，朝廷格外重视，因而一部书籍译成之后，受赏者往往众多。如《洪武宝训》于顺治三年译成之后，受赏者更是多达一百零九人，受赏对象从大学士、学士、侍读，到笔帖式、他赤哈哈番、中书舍人，再到编修、检讨和誊录官不等，可见翻译职责之重。（中国第一历史档案馆，1989：308）&lt;br /&gt;
Among them, Cha Buhai was the successful candidate in the imperial examinations at the provincial level in the eighth year of Tiancong, Hu Qiu and Wang Wenkui being the same candidate in the third year of Chongde, Bian Weifeng being the same as above in the sixth year of Chongde, Clante being scholar in the third years of Chongde (listed in the second class), Ye Chengge and Korkodai being the scholar in the sixth year of Chongde,(ranked in the third and first class). Because the work of translating Chinese classics has always been a great enterprise to run, the imperial court attached extra importance. Therefore, a book , the having been translated, many involed officers would receive the reward. Hongwu Baoxun, a historical book of Ming Dynasty, for instance having been translated in third year of Shunzhi, the people being rewarded was up to one hundred and nine, the rewarded object from the bachelor, scholar, royal tutor, bithesi clerk, the Chinese sherpa, to the editor, review and transcription officer, etc, from which we can see how heavy the translation duties was.(The First Historical Archives of China, 1989: 308)--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 13:37, 23 October 2021 (UTC)&lt;br /&gt;
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Among them, Cha Buhai was the successful candidate in the imperial examinations at the provincial level in the eighth year of Tiancong; Hu Qiu and Wang Wenkui , the same candidate in the third year of Chongde; Bian Weifeng, the same as above in the sixth year of Chongde; Kengte, the scholar in the third years of Chongde (listed in the second class); Ye Chengge and Keerkedai,  the scholar in the sixth year of Chongde,(ranked in the third and first class). Because the work of translating Chinese classics has always been a great enterprise to run, the imperial court attached extra importance. As a result , the book ,having been translated completely, many involed officers would be rewarded. ''Hongwu Baoxun'', a historical book of Ming Dynasty, for instance having been translated in third year of Shunzhi, the number of people being rewarded was up to one hundred and nine, the rewarded object from the bachelor, scholar, royal tutor, bithesi clerk, the Chinese sherpa, to the editor, review and transcription officer, etc, from which we can see how heavy the translation duties was. (The First Historical Archives of China, 1989: 308)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:50, 25 October 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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清军入关后，朝廷对翻译人员，或者兼通满、汉文的官吏需求显著增加，旗人教化刻不容缓。为此，政府既允许宗室、大臣子弟在家读书，也鼓励其入国子监八旗官学肄业。然而，旗学教育虽系正途，但国家方举，用人之事如同在弦之箭，透过旗学培养翻译人才，缓不济急。&lt;br /&gt;
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After the Manchu army entered the Shanhaiguan Pass, the imperial court's needs of translators, or officials familiar with both Manchu and Chinese, increased significantly. The education of Manchu had become an urgent task. To this end, the government not only allowed the imperial clan and grand ministers’ children to study at home, but also encouraged them to enter the Imperial University &amp;quot;Guozijian&amp;quot;, the highest educational administration in Qing dynasty. However, although the education of Manchu was the orthodox way to be an official, training translators through the education of Manchu was a slow remedy that could not meet the urgency of selecting officials for the new regime.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:00, 22 October 2021 (UTC)&lt;br /&gt;
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After the Manchu army had entered the Shanhaiguan Pass, the imperial court saw a marked increase in the need of translators and officials proficient in both Manchu and Chinese. An education for the Manchus became urgent. Therefore, the government not only allowed homeschooling for the children of the imperial clan and ministers, but also encouraged them to study in the Imperial College. However, the Eight-Banner Official school, though being the official way of receiving education, failed to cultivate in a short term translators who were desperately needed by the new regime.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:24, 23 October 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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在此情形下，朝廷又允许八旗士子以荫生（类似汉代以来的“任子”制度，分恩荫、难荫，由皇帝特赐）、监生等资格，参加各部院衙门组织的职缺考试，如他赤哈哈番、笔帖式哈番、中书、库使等。顺治朝以后，由于世祖更加重视旗人教育，如顺治元年颁布圣谕，令京城满洲八旗各觅空房，立为书院，翌年又令四品以上京畿官员，以及在外三品以上官员子弟入国子监读书，并于九年设立宗学，教养宗室子弟，旗人读书风气日盛，知识储备渐趋完善，可充任用者随之增多，因而考试选才不可避免。&lt;br /&gt;
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Under the circumstances, the imperial court then approved that students of the Eight-Banner Official school could attend, as Jiansheng(students of the Imperial College) and Yinsheng(granted by the emperor, similar to the hereditary system by which the children of ministers succeed to the father’s post in Han dynasty), tests for vacancies in Yamen(government offices in ancient China), including such posts as Tachiha, Bitieshi, Zhonshu(different civil afficials) and Kushi. Shunzhi Emperor paid more attention to the education of bannermen during his reign. At the first year, an imperial dree was issued demanding that Eight-Banner Official schools across the nation set a room as the academy. And at the second year, he demanded that children of officials in the Capital and its Environs above the fourth rank and those of provincial officials above the third rank attend the imperial college. What’s more, at the ninth year, he set up education institutions for royal clansmen. As the education for bannermen was thriving and becoming more comprehensive, those who can be employed were on the rise. Hence selective tests became unavoidable. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:26, 23 October 2021 (UTC)&lt;br /&gt;
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Under the circumstances, the imperial court then approved that students of the Eight-Banner Official school could attend, as Jiansheng(students of the Imperial College) and Yinsheng(granted by the emperor, similar to the hereditary system by which the children of ministers succeed to the father’s post in Han dynasty), tests for vacancies in Yamen(government offices in ancient China), including such posts as Tachiha, Bitieshi, Zhonshu(different civil afficials) and Kushi. Shunzhi Emperor paid more attention to the education of bannermen during his reign. At the first year, an imperial dree was issued demanding that Eight-Banner Official schools across the nation set a room as the academy. And at the second year, he demanded that children of officials in the Capital and its Environs above the fourth rank and those of provincial officials above the third rank attend the imperial college. What’s more, at the ninth year, he set up education institutions for royal clansmen. Because reading atmosphere of bannermen  gradually prosperous, and their knowledge reserve gradually perfect. The number of who can be employed is rising. Thus select talented people is inevitable.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 10:34, 27 October 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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顺治八年，经礼部议准，规定嗣后凡遇应考之年，均由内院会同礼部办理，分童试、乡试、会试，定生员额数一百八十人（满洲一百二十、蒙古六十），举人额数一百二十人（满洲五十、汉军五十、蒙古二十），进士额数六十人（满洲二十五、汉军二十五、蒙古十），并另由顺天府学政考取汉军生员一百二十人。考试内容上，无论乡试、会试，满洲、蒙古中的识汉字者均以考试翻译为主，即翻译汉字文一篇。（鄂尔泰等，1985：457）&lt;br /&gt;
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In the eighth year of Shunzhi, after the consultation of the Ministry of Rites, it was stipulated that the inner Court and the Ministry of Rites jointly handled the examination whenever there was an imperial examination year. The tests are divided into Boy trial, provincial examinations, and metropolitan examination. The number of students admitted by the examination is 180 (120 manchurians, the Mongolian people 60), the number of provincial graduate admitted by the examination is 120 (50 manchurians, Han 50 people, the Mongolian people 20), the number of Jinshi admitted by the examination is 60 (25 manchurians, Han 25 people, the Mongolian people 10). In addition, 120 han students were admitted by Shuntianfu. In terms of the content of the test, regardless of Boy trial, provincial examinations, and metropolitan examination, the people who know Hanzi in the Manchu and Mongol nationality mainly take the translation test, which is to translate an article of Hanzi.(Ortai etc., 1985: 457)--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 03:38, 23 October 2021 (UTC)&lt;br /&gt;
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In the eighth year of Shunzhi’s reign, it was discussed and approved by the Ministry of Rites that hereafter, whenever there was an Imperial Examination, the inner Court and the Ministry of Rites would jointly hold it. It was divided into Boy Trial, Provincial Examination, and Metropolitan Examination. 180 candidates (120 Manchurians and 60 Mongolians) could pass the Boy Trial;  120 candidates (50 Manchurians, 50 Han people, and 20 Mongolians) could pass the Provincial Examination; 60 candidates (25 Manchurians, 25 Han people, 10 Mongolians) could pass the Metropolitan Examination. In addition, 120 Han students were admitted via Shuntianfu Academy. In terms of the content, whether in Provincial Examination or Metropolitan Examination,  those who knew Chinese character as Manchurians and Mogolians would mainly take the translation examination, which means they need to translate a Chinese text.(Ortai etc., 1985: 457)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 09:53, 23 October 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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虽然本次办理的翻译考试并非后来的翻译科考，但其却是清初以来首次通过考试翻译，选拔旗人官员，为旗人提供了另一种进身、入仕之途。鉴于政权的性质和政治的现实，对旗人而言，无论是八旗满洲，还是八旗蒙古，要想留任京畿官职，往往必须兼通满、汉，或者满、蒙，以充翻译、缮写文书之用，这一点正是乡、会二试中考试翻译的缘由所在。顺治九年，礼部议准办理壬辰科会试，通过考试翻译的满洲、蒙古进士共计五十人，这些人比照汉人科举之例，被分别授予修撰、编修等职。&lt;br /&gt;
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Though it was not the translation examination in the Imperial Examination, yet the first time translation had been used to select Eight Banner officials since the beginning of Qing dynasty, which offered them another channel into authorities. In view of the nature of the regime and political reality, for Eight Banners, whether they were Manchuria or Mongolia, if they wanted to retain their official posts in the Capital and its Environs, they must know both Manchu and Chinese, or Manchu and Mongolian, so as to do translation and paperwork, which account for why translation was a subject in both the Provincial Examination and Metropolitan Examination. In the ninth year of Shunzhi’s reign, a total of 50 Manchurian and Mongolian scholars passed the translation examination in the Renchen Metropolitan Examination approved and held by the Ministry of Rites. These people were designated as compilers, editors and so on, according to the convention of Han Imperial Examination.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:50, 23 October 2021 (UTC)&lt;br /&gt;
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Though this translation exam was different from that of the Imperial Examination, it was the first time the Eight Banner officials were elected by examine translation, which offered them another way to authorities. Viewing the nature of the regime and political reality, for the Eight Banners, whether Manchuria or Mongolian, if wanting to retain their official posts in Beijing, they had to know any two languages among three languages to translate and write out paperwork, which was the reason of examine translation in both the Provincial and Metropolitan Examination. In the ninth year of Shunzhi’s reign, a total of 50 Manchurian and Mongolian scholars passed the examination. These scholars were honored with compilers, editors and so on respectively, according to the convention of Han Imperial Examination.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:22, 28 October 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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同年四月，吏科给事中高辛允具折，建议朝廷慎选庶吉士（翻译职官之一），以重名器。此事经内院议覆并奏准，决定从进士及第者中拔取汉人四十名、满洲与蒙古各二名，以及汉军四名，一体入“馆”（内弘文院庶常馆）读书。其中，汉进士中的部分学生被要求学习清文、清书，满洲、蒙古进士则需要学习汉书、汉语，其目的是为了应对“奏对讲读”，以及在兼晓满、蒙、汉文字之后，提升翻译能力。&lt;br /&gt;
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In April of that year, the officer Gao Xinyun prepared the memorial which suggested that the court should select officers of translation deliberately to emphasize the reputation. It was discussed, answered, and finally approved by the Adytum( the predecessor of the Cabinet), who decided to elect 40 Han scholars, 2 Manchurian scholars and 2 Mongolian scholars from those passing the he imperial examination, with 4 Han soldiers, to study at Guan together. Among these people, a part of Han scholars were asked to study Manchu language and books, and those of Mongolian and Manchurian scholars to study Chinese language and books, which aimed to deal with the emperor’s questions and lectures, and to improve their ability to translate after knowing three languages.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:30, 26 October 2021 (UTC)&lt;br /&gt;
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Later in April, the supervising secretary Gao Xinyun presented  an amanuensis to the court emphasizing the importance of Shu Jishi(a kind of translator) thus suggesting a strict selection. After discussion, the Adytum ( the predecessor of the Cabinet) decided to elect 40 Han scholars, 2 Manchurian scholars and 2 Mongolian scholars from those passing the he imperial examination, with 4 Han soldiers, to study at Guan together. Bedsides, some Han scholars were required to learn Manchu characters and books, while Mongolian and Manchurian scholars to study Chinese language and books. It was an reaction to the Emperor’s questions and lectures, and aimed at improving translation ability after grasping those characters.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:49, 26 October 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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在顺治朝两科翻译考试（八年、十一年乡试，以及九年、十二年会试）中，虽然出身旗学的举人和进士人数已无从详考，但中式者中确有供职于各部院衙门，职掌翻译和处理满、汉文书者，如乙未科满洲进士伊桑阿，初由礼部六品笔帖式授主事，后于康熙年间累迁至文华殿大学士兼吏部尚书。由于顺治年间亦如太祖、太宗时期一样，统治者亟需了解汉族文化，汲取治国理政经验，同时安抚汉族民众，伊桑阿等经考试翻译获得进身者往往被分派至内三院，或其后改制的内阁与翰林院，或经皇帝钦定，或由部院议决，担任翻译汉籍的工作。如顺治十一年十月，大学士宁完我进呈《洪武大诰》，世祖遂命内院诸臣翻译进览。&lt;br /&gt;
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In two kinds of translation examinations (provincial examination in 1651 and 1654, metropolitan examination in 1652 and 1655)in the reign of Emperor Shunzhi, the number of the selected scholars from Qi culture was hard to verify. But some of them worked for different government offices, taking charge of translating and handling official dispatches. For example, Yi Sanga, Jinshi(a successful candidate in the highest imperial examinations) from Manchu, was firstly an officer appointed by the sixth-grade leader in theMinistry of Rites; then during the reign of Emperor Kangxi he was transferred to Wenhua Palace as a garde secretary and minister of Board of Personnel. Like the  early period of Qing Dynasty, Emperor Shunzhi was eager to know Han culture and learn some arrangement strategies, comfort Han’s people at the same time. Therefore all the successful candidates passing translation examinations like Yi Sanga, were sent to translate Han classicals in Three Houses, or later established  cabinet and Hanlin Academy by the Emperor or official apartments. In november of 1654, Ning Wanwo, grade scholar, presented the translation “Hong Wu Da Gao”. And the Emperor soon ordered all officials to read it. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:33, 23 October 2021 (UTC)&lt;br /&gt;
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In two kinds of translation examinations (Provisional  Examination in 1651 and 1654, Metropolitan Examination in 1652 and 1655)in the reign of Emperor Shunzhi, the number of the selected scholars from Qi culture was hard to verify. However, some of them worked for different government offices, taking charge of translating and handling official documents. For example, Yi Sanga, Jinshi(a successful candidate in the highest imperial examinations) from Manchu, was firstly an officer appointed by the sixth-grade leader in the Ministry of Rites; then during the reign of Emperor Kangxi he was transferred to Wenhua Palace as a garde secretary and minister of Board of Personnel. Like the  early period of Qing Dynasty, Emperor Shunzhi was eager to learn Han culture and experience in governance, comfort Han’s people at the same time. Therefore all the successful candidates passing translation examinations like Yi Sanga, were sent to translate Han classics in Three Houses, or later established  cabinet and Hanlin Academy by the Emperor or official apartments. In November of 1654, Ning Wanwo, grade scholar, presented the translation “Hong Wu Da Gao”. And the Emperor soon ordered all officials to read it.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:52, 24 October 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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又如顺治十五年五月，“九卿”（清代上谕中常用“六部九卿”之称，虽无明确规定，但通常指都察院、大理寺、太常寺、光禄寺、鸿胪寺、太仆寺、通政使司、宗人府，以及銮仪卫等九个机构的行政长官）等会同议决国子监书籍一事，要求将《十三经》、《二十一史》等书各印一部，收藏于国子监内，并要求将其“俱翻译清书，以昭同文之盛”，虽然此二者的翻译在动因上明显不同，但由此可知朝廷对于翻译之重视。（同上：915）4.康熙年间的译才取用与汉书翻译。&lt;br /&gt;
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For example, in May of the fifteenth year of the reign of Emperor Shunzhi, &amp;quot;nine ministers&amp;quot; (Though there was no explicit rules, &amp;quot;six departments and nine ministers&amp;quot; referred to nine institutions and their chief executives in accordance with practice and the nine institutions included Department of Supervision, Dali Temple（today's Supreme Judicial Court）, Taichang Temple(in charge of rituals passed from ancestors )Guanglu Temple(in charge of sacrifice)Honglu Temple(in charge of foreign affairs and protocols)，Taipu Temple(in charge of carriages and horses), Office of Transmission(in charge of conveying suggestions or appeals from people and officials to the emperor), Zongrenfu (in charge of the register of the emperor's nine generations of relatives) and the Imperial Procession Guard) and et al discussed and decided   on matters about books in the Imperial College. The officials required that the Thirteen Confucian Classics and the Twenty-one Books of History be printed and collected in the Imperial College. They also requested that all translators should translate the books of Qing Dynasty, showing the unity of language. It can be seen that the royal court attached great importance to translation in spite of the obviously different motives of the two requirements. (ditto:915) 4. It was not until the reign of Emperor Kangxi that books of Han Dynasty were tranlated.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:11, 24 October 2021 (UTC)&lt;br /&gt;
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For another example, in May of the 15th year of Shunzhi, the &amp;quot;Jiuqing&amp;quot; (commonly known as &amp;quot;six Jiuqing&amp;quot; in the imperial edict of the Qing Dynasty, although there is no clear provision, it usually refers to the chief executives of nine institutions, such as the ducha academy, Dali Temple, Taichang Temple, Guanglu Temple, Honglu Temple, Taipu Temple, the general political envoy, the Zongren mansion, and Luan Yiwei), and others jointly decided on the issue of the books of the Imperial College and requested that the thirteen classics Twenty one histories and other books were printed respectively and collected in the Imperial Academy, and it was required to &amp;quot;translate all the Qing books to show the prosperity of the same text&amp;quot;. Although the two translations were obviously different in motivation, it can be seen that the imperial court attached great importance to translation. (ibid.: 915) 4. The translation in Kangxi period was similar to that in Chinese.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 07:40, 29 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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有清一代，由于“翻译之事，大有关系”，统治者都很重视。（马齐等，1985：275）如康熙帝认为，旗人供职于各部院衙门，如兼通满、汉文义，精通翻译，则料理部院事务时，便无不能。而挑选内阁、翰林院官员，也需“博通汉文，善于翻译之人，方为有用。”（中国第一历史档案馆，2009：1297，1329 ）During the Qing Dynasty, the rulers attached great importance to translation because they think that &amp;quot;if the translation has been well done, the whole country can also be well ruled&amp;quot;. (Ma Qi et al., 1985:275) For instance, Emperor Kangxi thought that the Manchu officials worked in  various ministries and offices all around the country, if he was proficient in both Manchu and Chinese, and was proficient in translation, he could  handle all the affairs of ministries and offices. The selection of Cabinet and Imperial Academy officials also requires &amp;quot;people who are proficient in Chinese and good at translation.&amp;quot; (Chinese First Historical Archives, 2009:1297,1329)--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 07:38, 29 October 2021 (UTC)Huang Zhuliang&lt;br /&gt;
Since the Qing Dynasty, the emperors attached great importance to translation because they think that &amp;quot;if the translation has been well done, the whole country can also be well ruled&amp;quot;. (Ma Qi et al., 1985:275) For instance, Emperor Kangxi thought that the Manchu officials worked in various ministries and offices all around the country, if they were proficient in both Manchu and Chinese, and excelled in translation, they could handle all the affairs of ministries and offices. The selection of officials of Cabinet and of Hanlin Academy also requires &amp;quot;people who are proficient in Chinese and good at translation.&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:54, 29 October 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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既然翻译公文尚且如此，翻译汉籍更毋庸说。如康熙四十五年十月，圣祖对《清太宗实录》纂修过程中朝鲜表文的翻译颇为不满，认为其满、汉文义皆不相符，因而差员苦心寻释，两年后终于“将文义完美”。（马齐等，1985：275）康熙五十一年三月，圣祖再次提及此事：昔太宗皇帝时， 朝鲜国进表，原无不恭之语，翻译官意欲啟衅，故将表文翻错，以致问罪往征。&lt;br /&gt;
Since the translation of official documents is so important,let alone the translation of Chinese works.For example,in October of the 45th year of the reign of Emperor Kanfxi,the Emperor was very dissatisfied with the translation of the North Korean memorial in the compilation of the Records of Emperor Taizong of the Qing Dynasty.He thought that the translation was not consistent with the meaning of Manchu and Chinese characters,so he sent members to look for the interpretation and finally ‘prefect the meaning of the text’after two years.(Ma Qi and others, 1985:275).In March of the 51st year of Emperor Kangxi’s Reign,the emperor mentioned this matter again:During the reign of Emperor Taizong,there was no disrespectful words when the North Korean submitted a memorial,but the translator deliberately mistranslated the memorial in order to provoke a quarrel.As a result,he was published.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 08:10, 23 October 2021 (UTC)&lt;br /&gt;
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The translation of official documents is so important,let alone the translation of Chinese books.For example,in October of the 45th year of Kangxi,the Emperor was very dissatisfied with the translation of Korean memorial during the process of editing ''Records of Emperor Taizong of the Qing Dynasty'', and he thought that ithe translation was not consistent with the meaning of Manchu and Chinese characters. So he sent people to seek the interpretation and finally ‘prefected the meaning of the translation” after two years.(Ma Qi and others, 1985:275).In March of the 51st year of Kangxi, the emperor mentioned this matter again:During the period of Emperor Taizong,there was no disrespectful words when the North Korean submitted a memorial,but the translator deliberately mistranslated the memorial in order to provoke a quarrel.As a result,he was published.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:49, 27 October 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后纂修《实录》，见彼表內汉文，与所翻满文，大不相同，始知当时翻译有弊。（同上：470）康熙时期的汉书翻译主要包括两部分，其中一部分是整理、刊行前朝译本，另一部分则是新译其它汉籍。而康熙帝对于旗人教育，以及翻译人才培养的重视，更是超越前人。&lt;br /&gt;
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''Authentic Records'' was later edited. At that time people began to find out the errors in the translation, for wether literal or deep meanings of Chinese text are different from what is translated into Manchu language. (Ditto: 470) In Kangxi period, the translation of Chinese books mainly consists of two parts, one of which is to arrange and publish the versions by the former dynasty, the other one of which is to translate other Chinese books. Meanwhile, the Emperor Kangxi did a better job than previous emperors in terms of educating Manchu people and attaching importance on fostering translators.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:27, 27 October 2021 (UTC)&lt;br /&gt;
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''Authentic Records'' was later edited. At that time people began to find out the errors in the translation, for either literal or deep meanings of Chinese text are different from what is translated into Manchu language. (Ditto: 470) During the reign of Kangxi, the translation of Chinese books mainly consists of two parts, one of which is to arrange and publish the versions by the former dynasty, the other one of which is to translate other Chinese books. Meanwhile, the Emperor Kangxi did a better job than previous emperors in terms of educating Manchu people and attaching importance on fostering translators.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:58, 27 October 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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康熙年间，朝廷设立的旗学颇多，不仅有康熙二十五年设立的景山官学，也有分设于不同时期的各地官学与义学。如康熙三十年，圣祖御设八旗义学，其后又将义学的设学地域不断扩大，并出台章程制度，规范义学的生员、教习、教学内容和考核方式等。虽然八旗义学的主要目的只是为朝廷培养初级人才，但翻译教学和翻译人才培养仍是其重要内容，因而义学中常设翻译教习，主要由笔帖式和翻译生员等担任。&lt;br /&gt;
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During the reign of Kangxi, the imperial court established many flag schools, including not only Jingshan official school established in the 25th year during the period of Kangxi, but also local official schools and free schools in different periods. For example, in the 30th year during the period of Kangxi, the emperor set up the Eight Banners free school, and then expanded the area of free school, and issued the constitution system to standardize the students, teaching, teaching content and assessment methods of free school. Although the main purpose of the Eight Banners free school is only to train primary talents for the imperial court, translation teaching and translation talent training are still its important contents. Therefore, the permanent translation teaching in the free school is mainly held by clerk and translation student.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 15:05, 26 October 2021 (UTC)&lt;br /&gt;
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During the reign of Emperor Kangxi, the imperial court initiated many Banner schools, including not only Jingshan Official School established in the 25th year during the Kangxi period, but also local official schools and free private schools at different times. For example, in the 30th year of reign, Emperor Kangxi set up the free private schools of Eight Banners, gradually expanded the scope of it and issued the constitution system to standardize the students, teachers, course contents and examination methods. The main purpose of these schools was only to train primary talents for the court, but translation teaching and talent training were of great importance. Therefore, the regular translation teachers in free private schools were mainly selected from clerical officials and translation students.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 15:49, 26 October 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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至乾隆时期，甚至对义学翻译教习的考选方式予以明确规定，要求考取八旗义学翻译教习，“由该旗将举、贡生员咨送”，并要求“择其年逾三旬，行无匪僻者。”（昆冈等，1963：23；柳海松，2017：24）学生学习的内容上，既有语言课程，也有文化课程，但汉文典籍的满文、蒙文译本也是必学内容，如《四书解义》、《性理精义》等，此外学生有时也需要翻译经义。又如康熙三十四年，应黑龙江将军萨布索奏请，圣祖同意在墨尔根设立旗学，从现任笔帖式中考选翻译明通、品行端方者，充当教习。&lt;br /&gt;
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During the reign of the Emperor Qianlong, the selection of translation teachers in free private school was explicitly stipulated, requiring earning relevant certifications in the Eight Banners. Candidates would be nominated by the Banner and finally recommended by senior licentiates. They were required to be over 30 and commit no crime.(Kungang, 1963: 23; Liu Haisong, 2017:24) In terms of learning content, there were both language courses and cultural courses, but Mongolian and Manchu translations of Han Classics were also compulsory courses, such as ''Comprehension of the Four Books'', ''Introduction of Neo-Confucianism'', etc. In addition, students sometimes needed to translate argumentation on Confucian classics. Another example was that in the 34th year of reign, at the request of General Sabuso of Heilongjiang, Emperor Kangxi agreed to set up a Banner school in Moergen and select from current clerical officials those who were proficient in translation and behaved with good morals to serve as teachers.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:59, 26 October 2021 (UTC)&lt;br /&gt;
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During the reign of the Emperor Qianlong, the selection of translation teachers in free private school was formally stipulated, requiring relevant learning experiences in the Eight Banners. Candidates should be nominated by the Banner and finally recommended by senior licentiates. And priority should be given to those who were over 30 years old and committed no crime.(Kungang, 1963: 23; Liu Haisong, 2017:24) In terms of learning contents, there were both language courses and cultural courses, but Mongolian and Manchu versions of Han Classics were also compulsory courses, such as ''Comprehension of the Four Books'', ''Introduction of Neo-Confucianism'', etc. In addition, students sometimes were required to translate argumentation on Confucian classics. Another example was that in the 34th year of Emperor Kangxi's reign, at the request of General Sabuso of Heilongjiang, the Emperor agreed to set up a Banner school in Moergen and select from current clerical officials those who were proficient in translation and behaved well to serve as teachers.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 02:29, 28 October 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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由于朝廷对于东北旗学向来格外重视，要求其确保民族特色，因而清语、骑射尤为重要。但即便如此，黑龙江八旗义学仍以翻译笔帖式教习汉书、汉字，由此可见旗学中翻译教育与人才培养的普遍性。虽然康熙中期以前，旗学学生的清语能力普遍较好，但欲使其精通翻译，以堪翻译汉籍资用，不能只是加强汉语能力，而令满语能力废弛。&lt;br /&gt;
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The teaching of Manchu language and riding and shooting was of great importance as a result of the fact that the central government paid immence attention to the schooling of the northeast flags. Despite that, the eights flags in Heilongjiang area were still committed to the instruction of Chinese books and characters by the way of translating. This showed that the training of translation and the cultivation of related talents prevailed among flags. During the first half of Emperor Kangxi' reign, students in flag schools were commonly equipped with excellent Manchu language. However, as for the translation of Chinese books, it was not enough merely to improve their Chinese, but also should enhance their own language.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:39, 24 October 2021 (UTC)&lt;br /&gt;
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The teaching of Manchu language and riding shot was of great importance as a result of the fact that the central government paid immence attention to the schooling of banner system in northeast China. Despite that, the gratuitous schools of banner system in Heilongjiang were still committed to the instruction of Chinese books and characters by the way of translating. This showed that the training of translation and the cultivation of related talents prevailed among banners. During the first half of Emperor Kangxi's reign, students in banner schools were commonly equipped with excellent Manchu language. However, as for the translation of Chinese books, it was not enough merely to improve their Chinese, but also should enhance their own language.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:56, 27 October 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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康熙中期以来，随着民族交流显著增多，旗人子弟习汉书的风气日盛，不仅妨碍了其习清书的意愿，而且也因其清语能力的消退影响了翻译。事实上，早在康熙十二年四月，圣祖便常常告诫侍臣，表达对于旗人学习清语的忧虑。圣祖所担心的并非此时的满人不知清语，而是嗣后因为满洲渐习汉语，可能会将满语遗忘。&lt;br /&gt;
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Since the middle term of Kangxi’s reign, more and more bannermen study Chinese as there has been a marked increase in ethnic exchanges. But this not only hampers the inclination for the study of Manchu language, but also affects the translation because of the decline of their Manchu language level. In fact, in the twelfth April of Kangxi’s reign, the emperor often admonished his courtiers and showed his concern about bannermen’s Manchu learning. What worries him is not that bannermen at this time don’t understand Manchu, but is that their descendants may forget Manchu for usual practice of Chinese in Manchuria.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:19, 27 October 2021 (UTC)&lt;br /&gt;
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Since the middle term of Kangxi's reign, more and more bannermen studied Chinese as there had been a marked increase in ethnic exchanges. But this not only hampered the inclination for the study of Manchu language, but also affected the translation because of the decline of their Manchu language level. In fact, in April 1673, Kangxi often admonished his courtiers and showed his concern about bannermen's Manchu learning. What worried him was not that bannermen at this time didn’t understand Manchu, but was that their descendants may forget Manchu for usual practice of Chinese in Manchuria.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:32, 27 October 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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圣祖认为，满、汉文义不乏相似，即便照字翻译，可通用者仍然很多，因而不致给今天的译者造成困难，但随着世易时移，后世子弟未必知晓，因而“差失大意”或“言语欠当”或许在所难免。（中国第一历史档案馆，2009：93）康熙的担心到了晚期以后得到应验，此时的八旗子弟清语能力普遍下降，不仅后生子弟“竟忘满语”，而且“老成旧耆”者，也有语音不正、字句失落的情况，导致翻译中误译、错译丛生，与“先年老人所翻之语不独恰当，（而且）真有奇处”的局面，已不可比拟。（张玉书、允禄等，1983：7 ；中国第一历史档案馆，2009：2271）&lt;br /&gt;
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Kangxi thought that the meaning of Manchu language and Chinese has similarities, even translating these words word by word, the universal word had occupied a lot, therefore, it won’t cause any problems to the translators at that time. However, with the time went on, the later generation won’t be fully know these words, so that the lack of meaning or the improper words couldn’t be avoided. ( The First Historical Archive of China, 2009:93) Kangxi’s  worry had been confirmed in his later days. At that time, Snuff Pots’ ability of knowing Manchu language had been decreased. Not only did their following generation forget the Manchu language, but also some of the old people had wrong pronunciation and the lack of words and sentences. Both of the two situations had led into the mistranslation, which didn’t suit the translation of the former people, and had an odd situation. The whole translation couldn’t be compared with the former one. ( Zhang Yushu, Yunlu, 1983:7; The First Historical Archive of China, 2009:2271) --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 07:24, 23 October 2021 (UTC)&lt;br /&gt;
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Kangxi thought that the meaning of Manchu language and Han language has similarities.Even translating works word by word, the universal words had occupied a lot.Therefore, it won’t cause troubles to translators now. However, as time flied, the later generation won’t be fully know these words, so that the misunderstanding  of meaning or the improper translation  couldn’t be avoided. ( The First Historical Archive of China, 2009:93) Kangxi’s  worry had been confirmed inthe later period. At that time, Snuff Pots’ Manchu language ability had been decreased to a great extent. Not only did their following generation forget the Manchu language, but also some of the old people had wrong pronunciation and lacked words and sentences. Both of the two situations had led into the mistranslation, which didn’t suit the translation of the former people,causing a strange situation. The whole translation couldn’t be compared with the former one. ( Zhang Yushu, Yunlu, 1983:7; The First Historical Archive of China, 2009:2271) --[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 12:36, 25 October 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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5.雍、乾二朝关于翻译人才培养的调整与改革。雍正朝初期，礼部遵圣谕拟调整旗学的办学方针，强化学生的满、汉语等多语种能力，即是因应时势之举。如《大清会典（雍正朝）》中说，雍正二年，朝廷对国子监八旗官学的管理进行改革，要求依学生的学习科目，调整其学习重点。&lt;br /&gt;
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The adjustment and reformation about translation talents in Yong Dynasty and Qian Dynasty :In the early Yong Dynasty ,Li Apartment created some measurements to strengthen students’ multilingual abilities according to Emperor’s command, which are called policies conforming to the historical trend of time.For example,Qing Reign said that government reform management of Eight Banners Academic in the Imperial College in YongZheng 2th year, which change the major points of studying according to student’s subjects.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 12:29, 25 October 2021 (UTC)&lt;br /&gt;
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5. Adjustment and reform of translation talent training in The Yong and Gan dynasties. In the early years of Yongzheng Dynasty, the Ministry of Rites decided to adjust the educational policy of banner learning and strengthen the students' multilingual abilities such as Manchu and Chinese in accordance with the situation. As stated in the Qing Dynasty (Yongzheng Dynasty), in the second year of Yongzheng, the imperial court reformed the management of the eight Banners of the Imperial Academy, requiring students to adjust their learning priorities according to their learning subjects.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:29, 27 October 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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具体来说便是，习满文者，以书写本折字画为主；习文章者，以讲论圣贤经传为主；习翻译者，则以熟翻《古文渊鉴》、《大学衍义》等书为主。教育方式的分流发展，既可以令培养目标更趋明确，也可以强化培养的专业性与针对性。然而，鉴于翻译科目自身的特殊性，学习者不宜为“幼稚之人”，而必须是年龄稍长，且资性聪敏者，如此才能保证学习效果。&lt;br /&gt;
To be specific, those who are proficient in writing Chinese calligraphy and painting are given priority to writing this calligraphy and painting; Xi article, to talk about the sages mainly; For those who are familiar with translation, they mainly read guwenyuan Jian and Xueyan Yi. The diverging development of educational methods can not only make the goal of training more clear, but also strengthen the professionalism and pertinence of training. However, in view of the particularity of translation, learners should not be &amp;quot;naive&amp;quot;, but should be older and intelligent in order to ensure the learning effect.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 05:27, 27 October 2021 (UTC)&lt;br /&gt;
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Specifically, those who study Manchu mainly write calligraphy and paintings; Those who study articles mainly give lectures on the scriptures of sages; As a translator, he is mainly familiar with books such as ''guwenyuanjian'' and ''University Yanyi''. The diversion development of educational methods can not only make the training objectives more clear, but also strengthen the professionalism and pertinence of training. However, in view of the particularity of the translation subject itself, learners should not be &amp;quot;naive&amp;quot;, but must be older and intelligent, so as to ensure the learning effect.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 05:34, 27 October 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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于是，经国子监祭酒孙嘉淦条奏，并经康亲王崇安、果郡王允礼议覆，朝廷决定嗣后选取官学生，需以年龄区隔，令年幼者学满文，年龄稍长者学汉文。随后，又规定官学生中如有愿清书者，可由助教视其年岁稍长，且文义粗通，准其该学翻译，但若要拨入翻译馆，则必须“读过汉书”。（铁保等，1983：16 ）乾隆年间，朝廷进一步调整国子监八旗官学的培养方式，明确将其分为清、汉两途。&lt;br /&gt;
Therefore, after sun Jiagan of imperial College made a toast to the wine, and after wang Chongan of Kangqin and Wang Yunli of Guojun, the court decided to select the official students according to their age, so that the younger students learn Manchu, while the older ones learn Chinese. Later, it was stipulated that if any official student was willing to study Chinese calligraphy, he or she could be allowed to study translation by the teaching assistant according to his or her age and rough meaning. However, if he or she wanted to be assigned to the translation library, he or she must have &amp;quot;read Chinese calligraphy&amp;quot;. (Tie Bao et al., 1983:16) During the Reign of Emperor Qianlong, the imperial court further adjusted the cultivation mode of the eight Banners of the Imperial Academy, explicitly dividing it into qing and Han dynasties.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 02:24, 23 October 2021 (UTC)&lt;br /&gt;
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Therefore, after the memorial was proposed by sun Jiagan, headmaster of Imperial Academy and approved by prince Kangqin wang Chong'an and prince Guojun inaccordance with the law, the court decided to select the official students according to their age, so that the younger students learn Manchu, while the older ones learn Chinese. Later, it was stipulated that any official student who was willing to study Chinese calligraphy could be allowed to study translation by the teaching assistants when he was getting mature and had a rough understanding of meaning of Chinese passages. However, if student wanted to be assigned to the translation college, he must have &amp;quot;read books written in Chinese&amp;quot;. (Tie Bao etc, 1983:16) During the reign of Emperor Qianlong, the imperial court further adjusted the cultivation mode of the Imperial Academy of Eight Banners, explicitly dividing it into two majors of Manchu and Chinese.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 08:22, 25 October 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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《钦定八旗通志》中说，八旗子弟选入国子监八旗官学后，前三年并不分途，而是一体专习经书，朝夕讲课。三年后，经监臣稽考，“材质聪颖、有志力学者”归入汉文班，分隶教习，而“年齿已长，愿学翻译者”则归入满文班，分隶助教，以专习翻译。（同上：10）国子监八旗官学的清、汉分途教学固然有其影响，但就清代旗学整体的翻译人才培养而言，亦谈不上冲击。&lt;br /&gt;
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It is said in the ''General Annals for Imperial Eight Banners'' that the descendants of the Eight Banners, after being selected into the imperial Academy of The Eight Banners, did not have separate courses in the first three years, but studied the classics together and gave lectures every day. Three years later, after an examination by the supervisor, &amp;quot;intelligent and ambitious students&amp;quot; were assigned to the Chinese language class and assisted in lecturing, while students who were &amp;quot;mature and willing to learn translation&amp;quot; would be assigned to the Manchu Class and acted as teaching assistants to specialize in translation. (Ibid:10) The separate teaching of Chinese and Manchu in the Imperial Academy of Eighth Banners had its significance but did not construct a shock toward the overall training of translation talents in the Qing Dynasty.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 06:51, 25 October 2021 (UTC)&lt;br /&gt;
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It is said in the ''General Annals for Imperial Eight Banners'' that the descendants of the Eight Banners, after being selected into the Eight Banners official school of Directorate of Imperial Academy, had no separate way in the first three years, but studied the classics together and attended classes every day. Three years later, after an assessment by the supervisor, &amp;quot;intelligent and aspiring students&amp;quot; were assigned to the Chinese class and assisted in lecturing, while students who were &amp;quot;mature and willing to learn translation&amp;quot; would be assigned to the Manchu Class and acted as teaching assistants in order to specialize in translation. (Ibid:10) The separate teaching of Chinese and Manchu in  the Eight Banners official school of Directorate of Imperial Academy certainly had its significance but constructed no shock toward the overall training of translation talents in Qing Dynasty.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 01:21, 26 October 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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然而，乾隆帝接受孙嘉淦的奏议，同意改变官学之旧例，即官学中研习翻译者往往只是应考笔帖式，允许八旗官学生之归入汉文班者，不必专习《四书》，也可讲求经、史等有用之学，并每三年一次对其进行考试，“取其明通者，授为监生，由官学而升之太学。”（同上：10- 11）这一做法尽管可以拔擢旗学汉文班中的秀异者，获得入国子监深造的机会，却与旗学设立的初衷一定程度上相悖。《大清会典（雍正朝）》中说，八旗官学之设，“原欲清、汉兼优，精通翻译，备部院衙门补用，可任职事”，而孙嘉淦所奏不仅会造成旗学教育资源的浪费，而且会造成国家教育的制度扞格，容易诱使官学学生竞相钻研汉文，从而背离旗人根本。（叶高树，2012：141-142）&lt;br /&gt;
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However, Emperor Qianlong accepted Sun Jiagan's proposal and agreed to change the old practice of the official schools, that is, students in official schools of the eight banners were allowed to enter the Chinese class because students who studied translation were bithsis often by passing the examination in the official school. They did not have to study the Four Books, but could focus on useful classics about Confucianism and history. They took an examination every three years, and “those who were proficient would be awarded as the Imperial College Students and would be promoted from the official school to the Imperial College.&amp;quot; (ibid.: 10 - 11) Although this measure could promote the outstanding students in the Chinese class of the Eight Banners School who could obtain the opportunity to further study in the Directorate of Imperial Academy, it was contrary to the original intention of the establishment of the Eight Banners School to a certain extent. According to Record of Laws and Systems of Qing Dynasty (Yongzheng Dynasty), the establishment of the official school for Eight Banners &amp;quot;originally wanted to cultivate talents excellent in both Manchu, Chinese and translation, who could be the candidates for government employees.”However, Sun Jiagan's proposal would not only cause a waste of educational resources of the Eight Banners School, but also make the system of national education incompatible. What’s more, his proposal easily induced students in the Eight Banners School to delve into Chinese competitively, which was deviating from the foundation of the Eight Banners. (Ye Gaoshu, 2012:141-142)--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:01, 27 October 2021 (UTC)&lt;br /&gt;
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However,the Emperor Qianlong accepted Jiagan Sun's proposal and agreed to change the precedent of the official school,Which means in the official school, the students who study Manchu-Chinese translation often only take the examination of the bithsis,but when it comes to the students of the Eight banners belong to the Chinese literature class,They did not have to study ''The Four Books '', but can also focus on practical studies such as Confucian classics and history, and take an examination every three years,“those who are proficient will be awarded as the Imperial College Students, and they will be promoted from the official school to the Imperial College.”(ibid.: 10 - 11) Although this practice can promote the outstanding students of the Eight Banners in the Chinese literature class, and they will obtain the opportunity to further study in the Imperial College, it is contrary to the original intention of the establishment of the  Eight banners school in a way. According to ''The Qing Code''(the Emperior of Yongzheng period), the establishment of the Eight flag official school “originally in order to cultivate outstanding talents in Manchu and Chinese, and be proficient in translation, so as to be used by the Ministry and the Academy”.Jiagan Sun's proposal will not only cause a waste of educational resource of the Eight Banners School, but also make the system of national education incompatiblely, which is easy to induce official students to study Chinese, thus deviating from the foundation of the Eight Banners. (Gaoshu Ye, 2012:141-142)     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 02:38, 30 October 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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与放宽八旗官学生学习汉书不同，乾隆时期对于八旗清文学学习翻译之事，则提高了要求。清文学专以汉军为对象，主要教授清书、骑射和伦理，它的开设是衡量旗学教育普及程度的重要参数。雍正十二年，为了对清文学教习从严管理与考核，以形成教学压力，督促汉军子弟更好地学习清文和翻译，经部议准，出台了满教习考核之规定。&lt;br /&gt;
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Different from relaxing the rules for students of the eight Banners to study Han literature, the requirements for learning the Qing wen-Chinese translation of Qing literature were raised during the reign of the Emperor Qianlong period. Taking the Han Army as the object, the Qing Literature College mainly taught Qing books, horsemanship and archery and ethics. Its establishment was an important parameter to measure the popularity of banner education. In the twelfth year of the Emperor Yongzheng, in order to manage and assess the teaching of Qing literature strictly, so as to form teaching pressure and to urge the han Army to better learn Qing literature and the Qing wen-Chinese translation, the ministry approved the regulation of on manchu's teaching and learning assessment.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 10:02, 25 October 2021 (UTC)Liu Wei&lt;br /&gt;
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Different from relaxing the rules for students of the Eight Banners to study Chinese literature, the requirements for learning Manchu literature and the Manchu-Chinese translation were raised during the reign of the Emperor Qianlong period. Taking the Chinese soldiers as its object, the Manchu Literature mainly taught Manchu works, horsemanship and archery and ethics. Its establishment was an important parameter to measure the prevalence of Banner education. In the twelfth year under the reign of the Emperor Yongzheng, the ministry introduced regulations on strict teaching and examination assessment of Manchu learning, so as to form teaching pressure, urging Chinese soldiers to better learn Manchu literature and the Manchu-Chinese translation.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 00:29, 26 October 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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满教习的考核以三年为限，有头等、二等、三等之分，考核标准主要与教习子弟的考课有关。乾隆三年，朝廷对现行标准进行修订，出台了更为严格的规定。以“头等”为例，在雍正十二年的考核标准中，但凡子弟能考中翻译外郎、笔帖式者，其清书教习便能位列头等，其奖励方式与内容交部议叙。&lt;br /&gt;
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The assessment was limited to three years, ranking the first class, the second class and the third class. Its criteria were mainly related to the courses taken by the students. In the third year under the rein of Qianlong, the imperial court revised the current standards and issued more stringent regulations. Taking the &amp;quot;first-class&amp;quot; as an example, in the assessment criteria of the twelfth year under the reign of Yongzheng, students who could obtain the position of interpreter and  bithesi in the examination, would be ranked first, the reward method and content discussed by the ministry.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 01:47, 22 October 2021 (UTC)&lt;br /&gt;
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The assessment is limited to three years, including first class, second class and third class. The assessment criteria are mainly related to the examination courses of the students. In the third year under the rein of Qianlong, the imperial court revised the current standards and issued more stringent regulations. Taking the &amp;quot;first-class&amp;quot; as an example, in the assessment criteria of the twelfth year under the reign of Yongzheng, students who could obtain the position of interpreter and bithesi in the examination, their Qing Shu teaching will be ranked first, and the reward method and content will be discussed by the ministry.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:06, 25 October 2021 (UTC)-&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至乾隆时期，头等的考核标准在先有的基础上增加了“翻译生员”一项，但奖惩规定不变，仍为“交部议叙”。雍正年间关于“二等”清书教习的考核标准明显低于“头等”，其具体规定是“子弟虽未有考试之人，有能写清字楷书，并粗通翻译者”，其奖励则是“再留学三年”。但同样的是，这一标准经乾隆三年的修订之后，变成了“虽无考中之人，尚有能写清字楷书，并粗通翻译，及通晓清话者”。&lt;br /&gt;
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During the Qianlong period, the &amp;quot;translator&amp;quot; was added to the first-class assessment standard on the basis of the previous one, but the reward and punishment provisions remained unchanged, which were still &amp;quot;submitted to the ministry for discussion&amp;quot;.  During the reign of Yongzheng, the assessment standard of &amp;quot;second-class&amp;quot; Qing Shu teaching was obviously lower than that of &amp;quot;first-class&amp;quot;. The specific provision was that &amp;quot;Although the children did not have an examination, those who could write regular script and are proficient in translation&amp;quot;, and the reward was &amp;quot;Study abroad for another three years&amp;quot;. But the same is that after the revision of this standard in the third year of Qianlong, it has become &amp;quot;Although no one has passed the exam, there are still people who can write regular script, and are proficient in translation and Qinghua&amp;quot;.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 23:59, 24 October 2021 (UTC)&lt;br /&gt;
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During the reign of Qianlong, the “translation student” was added to the first-class assessment standard on the basis of the previous one, but the provision of rewards and punishments remain &amp;quot;upon the decision of the ministry&amp;quot;. During the reign of Yongzheng, the assessment standard of &amp;quot;second-class&amp;quot; teachers of Manchu language were significantly lower than that of the &amp;quot;first-class&amp;quot;. It is specifically regulated that for those whose “students did not take the examination, but could write regular script of Manchu language and know a bit of translation”, the reward was “studying abroad for another three years”. However, the same assessment standard of the second-class developed into “no students had passed the exam, but could write regular script of Manchu language, know a bit of translation and are proficient in Manchu language” after revision in the third year of Qianlong. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 05:09, 26 October 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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二者对比，增加了“通晓清话”的内容，明显较之雍正朝更严。如果说雍、乾两朝关于“头等”、“二等”的考核标准只是些微调整的话，那么关于“三等”的考核标准则存在明显不同。其中，雍正朝的说法是“弟子止能写清字，并粗通清语者”，到了乾隆年间则成了“弟子并无粗晓翻译、清话，又不能缮写清字楷书”，后者再次凸显了对于翻译的重视。&lt;br /&gt;
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Compared with the former one, the mastering of Manchu language was added to the assessment criteria making them stricter than those in the era of Yongzheng Emperor. If the adjustments to Yongzheng's assessment criteria of the first class and the second class made during the reign of Qianlong were minor, then the adjustments to the criteria of the third class significantly differed from the former one. For instance, the third-class was referred as teachers whose students can only write and speak little Manchu language in Yongzheng's era. The criteria developed during the reign of Qianlong that the students of the third class know nothing about translation or Manchu language, and cannot write Manchu regular script. The latter assessment criteria once again highlighted the importance attached to translation.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:34, 24 October 2021 (UTC)&lt;br /&gt;
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In contrast, the addition of the 'knowledge of the Qing language' is clearly more stringent than in the Yongzheng period. If the assessment criteria for 'first-class' and 'second-class' were only slightly adjusted in the Yong and Qian periods, then the assessment criteria for 'third-class' were markedly different. For instance the term ’disciples who can write in Manchu and have a rough understanding of the Manchu‘ In the Yongzheng reign was changed to 'disciples who do not have a rough understanding of translation and Manchu, and who cannot write in regular script in Manchu' during the Qianlong reign, the latter again highlighting the importance attached to translation.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 04:59, 27 October 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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而且，关于“三等”清书教习的奖惩规定也有明显不同，其中雍正年间的规定只是轻描淡写的“拨回原处”，而乾隆时期则是“系现任笔帖式、闲散官充当者，即时交部查议，系废员充当者，即时驳回，永不叙用”，后者的惩处力度显然更大。值得注意的是，上述关于清书教习的考核标准及奖惩规定等，在雍、乾两朝的适用性并不一致。其中，雍正朝时期的办法是清文学教习一体适用，乾隆朝时期则特别针对汉军清文教习，其中原因与汉军清语能力普遍低下有关。&lt;br /&gt;
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Moreover, there is a clear difference in the regulations on the rewards and punishments for the &amp;quot;third-class” of Qing Shu teaching staff, of which the Yongzheng period was lightly &amp;quot;set back to the original place&amp;quot;, while the Qianlong period was &amp;quot;idle officials in the bithesi should be instantly investigated by the Ministry. For those who were ousted former staff should instantly be dismissed, and never to be used&amp;quot;. The latter punishment was obviously more severe. It is worth noting that the above-mentioned assessment standards and regulations of rewards and punishments to the Qing book teaching were not consistent in applicability for the two reigns. Among them, the approaches of Yongzheng period were applicable to Qing literature teaching as a whole. While Qianlong' s particularly directed at the Qing language teaching to the Han army, for which was related to the generally low ability of the Han army in Qing language.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 01:21, 27 October 2021 (UTC)&lt;br /&gt;
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Moreover，there was a great difference about the rewards and punishments for the &amp;quot;third-class” of Qing Shu teaching staff between the reign of emperor Yong Zheng and the reign of emperor Qian Long，while the regulations of the former was just touch on lightly as“allocate to the original place”，the latter was“ idle officials in the bithesi should be instantly investigated by the Ministry. For those who were ousted former staff should instantly be dismissed, and never to be used&amp;quot;，which was obviously more severe.It is worth mentioned that the test standard of the teachers of Qing books and the punishment and reward regulations were not in consistency about the adaptation between Yong and Qian dynasties.The method in Yong Zheng period was applicable to Qing literature teaching as a whole，while in Qian Long period，the method was aimed to the Qing language teaching to the Han army，the reason for which is related to the generally poor Qing language ability of the Han army --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:02, 27 October 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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乾隆帝对待八旗官学和清文学的态度明显不同，他鼓励前者学习汉文，却要求后者保持满洲的民族本特质，这种政策的两面性说明统治者在旗学的问题上，尚未真正做到通盘考虑，因而政策缺乏一致性。但作为“夙善国语，于翻译深所讲习”的“十全”皇帝，乾隆帝既能洞悉旗学教育的不足，又能从落实清语与翻译教学的立场出发，对旗学教育的方针进行修改与完善。乾隆七年十二月二十一日，高宗御阅宗学试卷，发现汉文教习宗室子弟虽然已历数年，但“翻译诸卷亦属平常”。（中国第一历史档案馆，1998：827）&lt;br /&gt;
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Emperor Qian Long showed distinctly different attitudes toward royal official study and the literature in Qing dynasty，he encouraged the former to study Han language，but asked the latter to keep the national instinct of Man Zhou，and the two-sides policy showed that，the ruler didn‘t have a well- rounded consideration on the issue of the royal study，so the policy was lack of consistency.However，emperor Qian Long，as a versatile who is good at national language and is engaging in the translation institutions， he not only can discern the shortcomings of royal education，but also can he revised the policies of royal education at the aim of carrying out the teaching of Qing language and translation study.On December 21rst in the sevemth year of Qian Long‘s throne，when the emperor checked  the test paper，he found that though the royal students had studied for years，they still had a “normal translation” when translating the books.（the first Chinese history archive，1998:827）&lt;br /&gt;
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Emperor Qianlong had showed quite different attitudes toward the official institutions in Eight Banners and the study of Manchu by encouraging the former to study Han language, while commanding the latter to keep ethnic traits of Manchu. The dual character of policy itself had manifested that the ruler did not have a well-rounded consideration on the issue of Manchurian education, hence it was lack of consistency. But as an Emperor who was &amp;quot;always excellent in national language and had  high attainments in tranlsation&amp;quot;, Qianlong could not only discern the shortcommings in the education for Manchu, but also revise and improve the policy for it at the aim of carrying out the education of Manchurian language and translation. On December 21th, 1742, the  7th year under the reign of Qianlong, Qing emperor Gaozong checked the test papers of royal clan and found that the royal students had been educated in Han language for many years, yet their translation were still mediocre judged on those testing papers. (the First History Archives of China, 1998: 827)--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 10:16, 27 October 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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乾隆十七年，上谕敕设世职官学，原因即是八旗世袭官荒怠清语和骑射。为了落实旗学设立之初衷，即以“清、汉兼优，精通翻译”为要，朝廷调整了部分旗学的教学重点，如乾隆二十一年裁减宗学汉教习九人，该设为翻译教习，并从翻译生员中选取适任者，担任圆明园学教习。（铁保等，1983：7；托津等，1994：6417）乾隆三十一年，朝廷在议准八旗官学的修业年限时，一并对官学生的考课做了要求，规定习翻译和清语者如不能在学习期满时，考取中书、库使、笔帖式等，都必须咨回本旗，并另挑差使。（铁保等，1983：12）&lt;br /&gt;
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In 1752, the 17th year under the reign of Qianlong, the Emperor had commanded to set up hereditary official institutions due to the fact that hereditary officials had neglected the study of Manchurian language, equitation and toxophily. The original intention of the education for Manchu is to train talents “excellent in both Manchurian and Han language, proficient in translation”. In order to achieve this, the court of Qing government had adjusted some academic focuses in Eight Banners. For instance, nine instructors who taught Chinese for royal clan were laid off in 1756, the 21th year under the reign of Qianlong, and replaced them with translation instructors selecting from translation students to teach in the Summer Palace. (Tie Bao et al., 1983:7; Tuo Jin et al., 1994: 6417). In 1765, the 31th year under the reign of Qianlong, the court had stipulated the length of study for imperial institutions in Eight Banners after discussing, and staked a claim to royal students’ tests--stipulating that those who learned translation and Mauchuria and failed to pass examinations for Zhongshu (cabinet minister), Kushi (storehouse commissioner-in-chief), Bithesi, etc. during the study period must be sent back to their own banners and took on other errands. (Tie Bao et al., 1983:12)--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:27, 26 October 2021 (UTC)&lt;br /&gt;
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Another version: In 1752, the 17th year under the reign of Qianlong, the Emperor had ordered to set up hereditary official institutions because of the fact that hereditary officials in the Eight Banners neglected the study of Manchurian, equitation and toxophily. With the initial intention of implementing the Banner education, that is, to train talents “excellent both in Manchurian and Han languages, proficient in translation”, the court of government in Qing Dynasty had adjusted some academic focuses in the Eight-Banner educational system. For instance, nine instructors who taught Chinese for royal clan were laid of in 1756, the 21st year during the reign of Qianlong, and replaced them with translation instructors who were selected from translation students to teach in the Summer Palace. (The Bao et al., 1983:7; Tuo Jin et al., 1994:6417). In 1756, having discussed the issue of the length of study and staking a claim to royal students’ tests, the court stipulated that those who learned translation and Manchurian and failed to pass examinations for Zhongshu (cabinet minister), Kushi (storehouse commissioner-in-chief), Bithesi (clerical staff), etc. during the study period, must be sent back to their own banners and took on other errands. (Tie Bao et al., 1983:12)--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 11:59, 27 October 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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至于学习的具体年限，则规定十八岁以下者以十年为期，这一规定为嗣后沿用。乾隆朝关于旗学教育的另一项改革便是“进学”。所谓“进学”是指旗学中的汉文班官学生经过一定的稽核或者考试之后，成绩优异者可升入国子监的办法。&lt;br /&gt;
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As for the specific period of study, it was stipulated that those under the age of 18 would have a 10-year-period study, which was also used in succeeding generations. Another reform of education in the Eight Banners in Qing Dynasty under the reign of Emperor Qianlong was “Jinxue” or “Entering School”, a special selection system. The so-called “Jinxue” referred to the method that the official students, with outstanding academic achievements, in Chinese Language Class in Banner education system, can be promoted to the Imperial Academy ( the highest educational administration in feudal China), after a certain audit or examination.&lt;br /&gt;
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As for the specific period of study, it was stipulated that those under the age of 18 would have a 10-year-period study, which was also used in succeeding generations. Another reform of the Qianlong dynasty on the education of banner school is &amp;quot;into the school&amp;quot;.（a special selection system） The so-called “Jinxue” referred to the method that the official students, with outstanding academic achievements, in Chinese Language Class in Banner education system, can be promoted to the Imperial Academy ( the highest educational administration in feudal China), after a certain audit or examination.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:38, 25 October 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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毫无疑问，“进学”办法的出台与朝廷一贯强调民族特质的政策颇有龃龉，但其所以成行，与统治者放宽八旗大臣子弟参加科试不无关系。如乾隆三十年，上谕内阁，指出八旗三品以上大臣子弟如国语娴熟，练习弓马，则遇考试之期时，可由其父兄自行奏明，一体入闱考试。但上谕同时规定，如果他们不潜心力学，于国语骑射又不专攻娴习，自然不如兼习文艺，兼收并进。（中国第一历史档案馆，1998：568）&lt;br /&gt;
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There is no doubt that the introduction of &amp;quot;into the school&amp;quot; approach and the court's consistent emphasis on the policy of national traits are quite at odds, but it has become a line, and the ruler relaxed the eight banners minister's children to participate in the examination is not unrelated. For example, the Qianlong 30 years, the bull cabinet, pointed out that the eight banners above the third grade minister's children such as skilled in the language, practice bow and horse, when the examination period, by their fathers and brothers to present themselves, one into the examinations. But the bull at the same time, if they do not concentrate on mechanics, in the national language riding and archery and not specializing in mastery, it is naturally better to learn both arts and culture, both into. (The First Historical Archives of China, 1998: 568)--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:34, 25 October 2021 (UTC)&lt;br /&gt;
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There is no doubt that the introduction of &amp;quot;into the school&amp;quot; approach and the court's consistent emphasis on the policy of national traits are quite at odds, but it has become a line partly because the ruler relaxed the rules on the eight Banners ministers’ children’s participation in the examination. For example, in the 30th year of Qianlong, the emperor talked to the cabinet, pointing out that ministers' children above the third grade in the eight Banners if skilled in Chinese language and practicing bow and horse, when encountering examination periods, by their fathers and brothers presenting their conditions, can take the examinations as well. But the imperial edict also stipulated, if they do not concentrate on study, and not specialize in the national language and riding and archery, it is naturally better to learn both letters and skills. (The First Historical Archives of China, 1998: 568)--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 01:47, 26 October 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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换言之，在旗人学习清语、骑射的意愿低落时，朝廷采取“进学”的办法，希望旗人通过兼习文艺而“犹可为造就之资”。（同上：568）朝中尚且如此，驻防自不待言。如乾隆四十至四十一年间，西安将军傅良条奏，指出满营官员内，熟练稿案且兼通满、汉文义者，已“甚难其人”。&lt;br /&gt;
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In other words, when the Banner people's willingness to learn Qing language and riding and shooting was low, the imperial court adopted the method of &amp;quot;recruiting scholars&amp;quot;, hoping that the Banner people could &amp;quot;be trained to be talents&amp;quot; through concurrent study of letters and skills. (Ibid.: 568) Even so this is true in the court, the situation at the garrison is self-evident. For example, during the 40th to 41st years of Qianlong, Xi'an General Fu Liangtiao pointed out that among the Manchu camp officials, those who were skilled in manuscripts and understood both Manchu and Chinese texts were &amp;quot;very difficult to find.&amp;quot;--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:28, 23 October 2021 (UTC)&lt;br /&gt;
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In other words, when the Banner people's willingness to learn Qing language and riding and shooting was low, the imperial court adopted the method of &amp;quot;recruiting scholars&amp;quot;, hoping that the Banner people could &amp;quot;also be trained to be talents&amp;quot; through concurrent study of letters and skills. (Ibid.: 568) The court had already done so, and the garrison understood naturally what to do. For example, during the 40th to 41st years of the Qianlong Reign, Xi'an General Fu Liangtiao proposed to the court, pointing out that among the Manchu camp officials, those who were familiar with official paperwork and could understood texts written in both Manchu and Chinese were &amp;quot;very difficult to find.&amp;quot;--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:27, 25 October 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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乾隆年间，满洲入关日久，满汉交流频密，旗人使用汉语阅读汉书的机会大增，使用清语的场合自然减少，这一点自会影响其学习清语和翻译的意愿。6.嘉、道以后翻译人才培养的颓废。嘉庆以后，有关旗学教育的许多做法都是沿袭前朝规定。&lt;br /&gt;
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During the reign of Emperor Qianlong where the Manchus had entered into Shanhaiguan for a long time, the exchanges between Manchus and Han people were frequent. The opportunity of using Chinese and reading Chinese books increased greatly, and the occasions of using Manchu decreased naturally, which will naturally affect the willingness of the Banner people to learn Manchu and translation. 6. After the reign of Jiaqing and Daoguang, the cultivation of translators was decadent. After the Jiaqing reign, many of the practices concerning the education of banner scholars followed the rules of the previous dynasty.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 October 2021 (UTC)&lt;br /&gt;
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During the reign of Emperor Qianlong when the Manchus had entered into Shanhaiguan for a long time, the exchanges between Manchus and Han people were frequent. And the Manchus’ opportunities of using Chinese and reading Chinese books increased greatly. Meanwhile, the occasions of using Manchurian decreased naturally, which would correspondingly affect the willingness of the Banner people to learn Manchurian and translation. 6. After the reign of Jiaqing and Daoguang, the cultivation of translators was decadent. After the reign of Jiaqing , many of the practices concerning the education of banner scholars followed the rules of the previous dynasty.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 01:56, 26 October 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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例如，在有关官学生肄业的具体年限上，便接续了乾隆三十一年的要求，规定年龄在十八岁以下者，仍须以十年为限，并将这一规定应用至咸安宫官学和景山官学。《钦定大清会典事例（光绪朝）》中对此事的记载是：咸安宮官学成材者众，体制较优，……嗣后凡由官学生及闲散人等挑选者，定以十五岁以上二十岁以內入学，至十年限满，不能考中生员， 即行出学。&lt;br /&gt;
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For example, the schools accepted the requirement in the 31st year of Qianlong (1736) on the aspect of the specific length of study of official students who failed to meet the graduate standards. The requirement claimed that the delay in graduation for students under the age of 18 was still  ten years and it would be applied to Salt palace official Ann and Jingshan official study. According to the record on book called ''Hui Dian Case of the Qing Dynasty'', it was written that there were many talents in Salt palace official Ann which indicated superiority of study system. Hereafter, these candidates selected by official students and common people were required to matriculate at age from 15 to 20 with ten years full. During the ten years, these candidates couldn’t be allowed to join the imperial examination for the position of scholar until leaving school.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:28, 22 October 2021 (UTC)&lt;br /&gt;
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For example, the schools accepted the requirement in the 31st year of Qianlong period (1736) on the aspect of the specific length of study of official students. The requirement claimed that the length of study for students under the age of 18 was still ten years and it would be applied to Salt palace official Ann and Jingshan official study. According to the record on book called ''Hui Dian Case of the Qing Dynasty'', it was written that there were many talents in Salt palace official Ann which indicated superiority of study system. Hereafter, those candidates selected from official students and common people were required to be enrolled at age from 15 to 20. At the end of the ten years, if candidates couldn’t be chosen to study in Taixue(the highest seat of learning in ancient times in China), they wil be asked to drop out of school.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:45, 22 October 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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如由举、贡、监生挑选者，亦以十年为率，核计已经正科三屆乡、会试不能取中者，一并出学。其景山官学，……即照八旗官学之例，将十岁以上十八岁以下者入学肄业，至十年限满无成者，拨回本旗，另行挑差。（昆冈等，1963：273）道光年间，官学生的学习仍以十年为限，一方面是为了延长学生学习时间，更重要的是为了体现朝廷对旗学教育质量的重视。&lt;br /&gt;
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If it is selected from Ju, Gong and Jian students, it will also be based on the rate of ten years. Those who have failed to be elected in the Xiangshi and Huishi for three sessions will be released together. The Jingshan official school, that is, according to the example of the Eight Banners official school, people over the age of ten and under the age of eighteen enrolled in school failing to be elected at the end of ten years shall be pulled back to their own Banners and choose a job. ( Kungang et al., 1963:273) During the Daoguang period, the study of official students was still designated to ten years. On the one hand, it was to extend students’ learning time, and more importantly, it was to reflect the importance the court attached to the quality of Banner’s education.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:44, 22 October 2021 (UTC)&lt;br /&gt;
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If being selected from Ju, Gong and Jian students, it will also be based on the rate of ten years. Those who have failed to be elected in the Xiangshi and Huishi for three sessions will be released together. The Jingshan official school, that is, according to the example of the Eight Banners official school, people between ten years old and eighteen years old who were dropouts in school fail to be elected at the end of ten years shall be pulled back to their own Banners and choose a job. ( Kungang et al., 1963:273) During the Daoguang period, the study of official students was still designated to ten years. On the one hand, it was to extend students’ learning time, and more importantly, it was to reflect the importance the court attached to the quality of Banner’s education.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:41, 23 October 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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如道光三年，礼部议准：嗣后八旗官学生留学，亦以十年为断。其有考取文生员、翻译生员者，以考中之日为始，留学十年。如再考中副榜、拔贡、优貢等项，复以中式之日为始，扣满十年，俾得底于有成。&lt;br /&gt;
For instance, Daoguang three years, after consultation, the Ministry of rites approved that descendants of the “Eight Banners” officials could studied abroad for ten years. Among them, those who have been admitted as government students or translation students could study abroad for ten years from the day they were  admitted. If anyone was admitted to the additional notice, Ba Gong, You Gong and so on, ten years would be deducted from the day of they were admitted, so as to achieve great success.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:32, 23 October 2021 (UTC)&lt;br /&gt;
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For instance, in the third year of Emperor Daoguang, after consultation, the Ministry of Rites approved that descendants of the “Eight Banners” officials could study abroad for ten years. Among them, those who have been admitted as clerk students or translation students could study abroad for ten years from the date of the admission. If anyone was admitted to Deputy Ranking, Ba Gong, You Gong, etc. , ten-year period would be deducted from the day of their enrollment, so as to achieve great success. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:04, 23 October 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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如中式举人，则以有铨选之路，不得再行留学。由上可知，所谓十年的年限适用于所有八旗官学生，不论其是否考取文生员，或翻译生员，皆是如此。即便是考取副榜、拔贡和优贡等，也是从其中式之日起，计满十年。这么做的目的仅在于使学生能学有所成。&lt;br /&gt;
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For example, if a person was admitted as Juren in the Imperial Examination, he could use his talents to usher in such a path in politics that he was not allowed to study abroad. It could be seen from the above that the so-called ten-year period was applicable to all Eight Banners official students, no matter whether they were enrolled as clerks or translators. The ten-year period was also calculated from the date of admission even if they were admitted to Deputy Ranking, Bagong, Yougong, etc. The purpose simply lied in enabling students to succeed in their studies. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 06:03, 22 October 2021 (UTC)&lt;br /&gt;
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For example, if a person was admitted as Juren in the Imperial Examination, he could be selected to participate in politics that he was not allowed to study abroad. It could be seen from the above that the so-called ten-year period was applicable to all Eight Banners official students, no matter whether they were enrolled as clerks or translators. The ten-year period was also calculated from the date of admission even if they were admitted to Deputy Ranking, Bagong, Yougong, etc. The purpose simply lied in enabling students to succeed in their studies.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:44, 24 October 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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与此同时，由于乾隆后期推行“讲学”制度，八旗子弟学习清语和翻译的意愿明显减退，对嘉、道年间的旗学教育也产生了影响。如嘉庆十三年闰五月，仁宗曾颇有感慨地对大臣说，开国之初，风气淳朴，朝中满洲大臣教诫八旗，因而“如清语、骑射，尚能勤加练习，远胜今日。”（曹振镛等，1986：601）又说：“从前满洲，尽皆通晓清文，是以尚能将小说、古词翻译成编”，而“今满洲非惟不能翻译，甚至清话生疏，不识清字。&lt;br /&gt;
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At the same time, due to the implementation of the &amp;quot;lecture&amp;quot; system in the late Qianlong, the willingness of the Eight Frag People to learn Qing language and translation decreased significantly, which also had an impact on the flag learning education during the reign of Jia and Taoism.For example,in the leap May of the thirteenth year in Jiaqing,Renzong once said to the minister with emotion that at the beginning of the founding, the atmosphere was honest, and the minister of Central Manchuria taught the Eight Frag People. Therefore, &amp;quot; Qing language, riding and shooting can be practiced,which is far better than today.”(Cao Zhenyong et al., 1986:601) And he also said: &amp;quot;In the past Manchuria, everyone knew the Qing language, so we could translate novels and ancient words&amp;quot;. However,&amp;quot; People in Manchuria can not translate now, or even isn't familiar with Qing language and don't know the Qing words.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:51, 22 October 2021 (UTC)&lt;br /&gt;
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At the same time, due to the implementation of the &amp;quot;lecturing&amp;quot; system in the late Qianlong period, the children of the Eight Banners showed a significant decline in their willingness to learn Qing language and translation, which also had an impact on the banner learning education during the Jia and Tao period. For example,in the leap May of the thirteenth year in Jiaqing, Renzong once said to the ministers with emotion that at the beginning of the founding, the atmosphere was honest, and the Manchu ministers in the imperial court enlightened and educated the Eight Banner People. Therefore, &amp;quot;such as Qing language, horsemanship and archery can be practiced, which is far better than today.”(Cao Zhenyong et al., 1986:601) Then he added: &amp;quot;In the past Manchuria, everyone was familiar with the Qing language, so they could compile the translation of  novels and archaic words&amp;quot;. However,&amp;quot; People in Manchuria are incompetent to translate now, and even aren’t  familiar with Qing language and cannot understand the Qing words. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 14:49, 22 October 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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其粗晓汉文者，又以经、史正文，词义深奥，难于诵习，专取各种无稽小说。”（中国第一历史档案馆，2000：370）由是观之，傅良所奏并非虚言，但事实上，即便是在乾、嘉年间，虽然旗人的清语能力普遍衰退，导致翻译能力普遍欠佳，但朝廷中仍不乏精通翻译之才。如笔帖式出身，并累迁至武英殿大学士兼军机大臣的舒赫德，便向来以“善译”出名。&lt;br /&gt;
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Among them, those who have a little knowledge of Chinese, write a lot about scriptures and historical texts which have profound meanings and are difficult to chant and study, especially in all kinds of nonsense novels.” (The First Historical Archives of China, 2000:370) From this point of view, what Fu Liang prensented  is not a dead letter. But in fact, even during the Qian, Jia period, although the general decline in the Banner‘s people’s ability of Qing language results in poor translation quality, the imperial court is still crowded with talented translators. Such as Shu Hede, bitheshi born, then transferred and promoted to the Hall of Martial Valor Bachelor as well as the Military Planning Minister, has always been known for his “skillful translation”. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 13:54, 22 October 2021 (UTC)&lt;br /&gt;
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First:From the point of view What Fu Liang  wrote was not empty.&lt;br /&gt;
Second:there were still many people in the court who were proficient in translation.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 09:03, 26 October 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《钦定翻译五经四书》的完成，也“皆八旗精翻译者所成”。（铁保等，1983：4 ）且政府制定大规模翻译工程时，包含翻译官、誊录、纂修在内的各种参与人员，也都是从国子监八旗官学，以及八旗各学学生中加以考选。各部院衙门中兼事翻译、文书的笔帖式、中书、库使等，也多由旗人构成。&lt;br /&gt;
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The completion of the King James Translation of the Five Classics and Four Books was also &amp;quot;the work of the eight banner translators&amp;quot;. (Tie Bao et al., 1983:4) In addition, when the government formulated a large-scale translation project, all the participants, including translation officers, transcription and compilation, were also selected from the official schools of the Eight Banners of the Imperial Academy as well as the students of the eight Banners. The ministry courtyard yamen concurrently translation, clerical pen post type, book, library, etc., are also composed of flagmen.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 02:24, 22 October 2021 (UTC)&lt;br /&gt;
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The completion of  the Imperial Translation of the Five Classics and Four Books was also made by the eight banner translators. (Tie Bao et al., 1983:4) When the government formulated a large-scale translation project, all the participants, including translators, transcribers and compilers, were also selected from the official schools of the Eight Banners of the Imperial school as well as the students of the eight Banners. The ministry courtyard concurrently translation, clerical pen post type, book, library, etc., are also composed of flagmen. edited by Wang Zhenlong&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凡此种种，只能说明满人的清语学习出现了部分问题，而非全部。但问题既已造成，必须加以解决。因而嘉庆六年三月，原礼部主事尹壮图奏请将十五、六岁前的满洲子弟专读经书，待心性成熟，精力完固之后，再学习骑射与翻译。尹壮图的本意是为了提振满人学习骑射与翻译的效率，但由于他本末倒置，将翻译学习建立在汉族经史，而不是满文学习之上，无异于戕害清初以来历代君主倡导的满洲主体性，自然无法获得嘉庆帝的认可。&lt;br /&gt;
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All this can only show that there are some problems in Manchu's Qing language learning, not all of them. However, since the problem has been caused, it must be solved. Therefore, in March of the sixth year of Jiaqing, Yin zhuangtu, the former head of the Ministry of Rites, asked Manchu children who are younger than 16 to read scriptures. After their hearts and minds are mature and their energy is solid, they can learn riding, shooting and translation. Yin zhuangtu's original intention was to promote the efficiency of Manchu people's learning riding, shooting and translation. However, because he put the cart before the horse and based the translation learning on the classics and history of the Han nationality rather than the Manchu language learning, it was tantamount to harming the Manchu subjectivity advocated by successive monarchs since the early Qing Dynasty, which naturally could not be recognized by Emperor Jiaqing.&lt;br /&gt;
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All this can only show that there are some problems in Manchu's Qing language learning, but not all of them. However, since the problem has been caused, it must be solved. Therefore, in March of the sixth year of Jiaqing Emperor, Yin zhuangtu, the former head of the Board of Rites, asked Manchu children who were younger than 16 to read scriptures. After their hearts and minds got maturer and more vigorous, they can learn riding, shooting and translation. Yin zhuangtu's original intention was to promote the efficiency of Manchu people's learning riding, shooting and translation. However, because he put the cart before the horse and based the translation learning on the classics and history of the Han nationality rather than the Manchu language learning, it was tantamount to harming the Manchu subjectivity advocated by successive monarchs since the early Qing Dynasty, which naturally could not be recognized by Emperor Jiaqing.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:43, 25 October 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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尹壮图所奏是否合理暂且不论，但事实是道光以后，旗人清语、翻译荒废的情形日益严重。如道光十五年六月，宣宗敕令满洲五品以上至侍郎以下京堂，分日考试清文。令道光帝所料未及的是，本次考试中翻译通顺，以及尚能翻译但偶有讹错者，也只不过在十分之三、四之间，其中半数甚至不能落笔。&lt;br /&gt;
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Though whether Yin Zhuangtu’s presenting a memorial to the emperor made sense or not was not being discussed, the fact was that after Daoguang emperor, the situation of eight banners clear their language and translation disuse was becoming serious. For example, in the June of Daoguang fifteenth year, Xuan Zong gave an imperial order to the Manchu ministers from Jing Tang to vice-president of one of the Six Boards to take a test on Manchu for several days. Out of Daoguang emperor’s expectation, only three or four of ten of the ministers do this translation smoothly with some small mistakes, and half of them could not even write. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:06, 23 October 2021 (UTC)&lt;br /&gt;
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Whether Yin Zhuangtu’s presentation to the emperor made sense or not, the fact was that after the rule of Daoguang emperor, the situation that eight banners did not master Manchu language and Manchu translation was becoming serious. For example, in the June of Daoguang fifteenth year, Xuanzong emperor gave an order to the ministers in Manchuria from officials of the Six Boards to Shilang to take a test on Manchu knowledge. Out of Daoguang emperor’s expectation, only three or four of ten of the ministers could do the translation smoothly or do it with some small mistakes, but half of the ministers could not even write anything. --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:28, 28 October 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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为此，道光帝特降旨训诫，强调清语乃满洲根本，无论出身如何，满人皆应熟习。道光帝尤其针对宗室、觉罗子弟做出训诫，令其务必勤修本业，勉绍家声，断不可因不晓清语、不识清字，而辜负了朝廷“务本成全”的用意。（穆彰阿等，1986：109）至清末年间，旗人清语、翻译能力的衰退一如既往，甚至出现了国子监课士官不知清语的怪异现象。&lt;br /&gt;
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So, Daoguang emperor gave an order to admonish and emphasized that Manchu language was the root of Manchuria. Therefore, whatever your family background was, if you were a Manchu people you should master Manchu language. Daoguang emperor especially admonished royal children and ordered them to study hard and pass on family reputation. They should not fail to accomplish the willing of the court that aksed them to work hard to get success because of their lack of the knowledge of Manchu language. (Muzhanga and so on, 1986:109) In the late Qing dynasty, Manchu people's mastery of Manchu language and Manchu translation was as declining as before. Even the strange phenomenon that teachers in Guozijian(imperial academy) knew nothing about Manchu language occurred.&lt;br /&gt;
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For this purpose, Daoguang emperor has purposely given an order to admonish and emphasized that the Qing language was fundamental to Manchuria. As a result, whatever your origin was, as long as you were a Manchu people you should master this language. Daoguang emperor especially admonished the children of the imperial family and Jueluo in particular, ordering them must to study for their work diligently, carry on and develop their family reputation. They should not fail to live up to the court’s intention of “working in a practical way and getting success” on account of not knowing the Qing language and words. (Mu Zhang’a and so on, 1986:109) During the late Qing dynasty, bannermen's mastery of Manchu language and translation was in decline as usual. There has even emerged a strange phenomenon that teachers in the Directorate of Imperial Academy knew nothing about the Qing language.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 09:57, 25 October 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如咸丰四年，苏勒布因新授国子监满洲司业具折谢恩，但皇帝在御览此折时，发现其竟不能用清语缮写自己名字，更不用说讲解折内字句，于是饬令将其降为编修，以示惩戒。为了使八旗人等一体加强清语、翻译的训练，咸丰帝降旨：八旗人员，骑射、清文是其本务，即使于清文义理不能精通，亦岂有不晓清语、不识清字，遂得自命为旗人之理？&lt;br /&gt;
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For instance, Suleb was given the new title of Manchu Department of Imperial College during the 4th year of Xianfeng, so he has written a memorial to express his gratitude to the emperor for his gift. However, when the emperor inspected this memorial, he unexpectedly found that Suleb couldn't write his own name in Qing Language, let alone explaining the words and sentences in the memorial. So as a punishment, the emperor ordered him to be demoted to compiler. Then in order to enhance the Eight children's training of Qing Language and translation, the emperor Xianfeng issued a decree: riding and archery, Qing Language are the primary tasks for the Eight children. Even if one was not proficient in the argumentation of Qing Language, was there a reason for someone who even didn't know the Qing Language and Qing words, but then called himself a member of the Eight children?--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 05:42, 22 October 2021 (UTC)&lt;br /&gt;
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For example, Suleb was given the new title of Manchu Department of Imperial College during the 4th year of Xianfeng, so he has written a memorial to express his gratitude to the emperor for his gift. However, when the emperor inspected this memorial, he unexpectedly found that Suleb couldn't write his own name in the Qing Language, let alone explaining the words and sentences in the memorial. So as a punishment, the emperor ordered him to be demoted to compiler. Then in order to enhance the Eight children's training of Qing Language and translation, the emperor Xianfeng issued a decree: riding and archery, Qing Language are the primary tasks for the Eight personnel. Even if one was not proficient in the argumentation of Qing Language, was there a reason for someone who even didn't know the Qing Language and Qing words, but then called himself a member of the Eight personnel?--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 07:07, 23 October 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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道光年间特奉谕旨，停止驻防文试，专考翻译，原期返朴还淳，俾我八旗子弟咸知本业。乃近日八旗人员，仍有专习汉文，于清语、清字全不讲求，沾染习气，徒骛虛文，实堪痛恨。嗣后无论何项出身人员，均宜练习清文，通晓讲解，即由文乡、会试入仕之员及兵丁子弟，亦应一体练习，不准怠惰偷安，以务根本。（中国第一历史档案馆，1998：89）&lt;br /&gt;
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During the reign of Daoguang, he stopped the trial of defense literature, specialized in translation, and returned to the original state, so that the children of the “Eight banners” would know his career. But in these days, the eight banners personnel are still specialized in learning Chinese literature, but pay no attention to studying the Qing language. What’s more, they are gradually acquiring the bad habits, and writing with unnecessary words. And that is the biggest problem! No matter what the successor, they should practice the Qing literature and be well speaking, that is, by the township, the official and the soldiers should also practice, don’t be idle and at the same time should do the fundamental. (The First Historical Archives of China, 1998:89)--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 07:03, 23 October 2021 (UTC)&lt;br /&gt;
During the reign of Daoguang, I was ordered to stop the garrison literary examination and specialize in translation. I returned to park and returned to Chun in the original period, so that my children of the Eight Banners could know their own business. Recently, there are still eight banners who specialize in learning Chinese. They don't pay attention to the language and characters of the Qing Dynasty. They are infected with the habit and concentrate on empty words. It's really hateful. Later, no matter what kind of background personnel, they should practice Qingwen and be proficient in explanation, that is, those from Wenxiang, those who will try to become officials and the children of soldiers should also practice as a whole. Laziness and safety are not allowed, so as to be fundamental.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:01, 24 October 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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虽然咸丰帝对于部院衙门僚属，以及八旗官员荒废清文，不能翻译的情形忧心忡忡，或谆谆善诱，或严词斥责，但无论何种，终究未能阻止旗人清语和翻译能力的废弛。逮清末之际，虽然朝廷仍规定各地官员遇有奏事折件时，采用满汉合璧的形式，由此说明满语仍占一定地位，且旗学培养语言人才的功能并未完全消失，但随着时势推移，民族融合日盛，旗人清语荒疏的情形已不可逆，翻译能力随之凋敝。&lt;br /&gt;
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Although various departments and officials of the Eight Banners could not translate Manchu language, the Manchu language was abandoned. Emperor Xianfeng was very worried about CI. On the one hand, he taught people to learn the characters of the Qing Dynasty, on the other hand, he also scolded people to urge people to learn the characters of the Qing Dynasty. However, no matter which method is used, it can not stop the decline of Manchu people's mastery of Manchu language. At the end of the Qing Dynasty, the court stipulated that local officials should report in Chinese and Manchu. This shows that Manchu still has a certain importance, and Manchu speakers have not completely disappeared. However, with the development of the times, the integration between ethnic groups is becoming stronger and stronger. Manchu people neglect Manchu more and more, and their translation ability is gradually declining. This is the general trend and cannot be avoided.&lt;br /&gt;
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Although Emperor Xianfeng was very worried about  the phenomenon that departments and officials of the Eight Banners neglected the learning of works of Qing Dynasty and people were unable to translate, for which he had gave them advice and also scolded them. However, no matter which method is used, it can not stop the decline of Manchu people's mastery of Manchu language. At the end of the Qing Dynasty, the court stipulated that local officials should report in Chinese and Manchu. This shows that Manchu still has a certain importance, and Manchu speakers have not completely disappeared. However, with the development of the times, the integration between ethnic groups is becoming stronger and stronger. Manchu people neglect Manchu more and more, and their translation ability is gradually declining. This is the general trend and cannot be avoided.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:53, 27 October 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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5.结语。清代旗学是统治阶级共享政治利益的特殊体制，既面向八旗设学，又面向皇族和宗室设学，虽然客观上振兴了文教，养育了人才，促进了民族融合，主观上却是统治者用以巩固统治的保全之道。为教育旗人，改善治理，政府从初级而进阶，由贵族而惠及弱势，依次推进旗学教育，设想不可谓不周，成效不可谓不甚。&lt;br /&gt;
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Conclusion. The School of Banners is a special system for the ruling class to share political interests, which is not provided for the eight banners but also for the royal family and other imperial kinsman. Such a  system objectively does promote the cultural education , talent  cultivation and fusion of ethnic groups, but subjectively, it is a method to consolidate the governer’s rule. To educate the people of banners and improve their governance, the government successively promote banner education from lower level  to upper level, from the nobility to the disadvantaged. How  comprehensive and effective the proposal is.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 07:16, 22 October 2021 (UTC)&lt;br /&gt;
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Conclusion. The School of Banners in Qing Dynasty is a special system for the ruling class to share political interests together, which is not only provided for the eight banners but also for the royal family and other imperial clansman. Although it objectively revitalized culture and education, nurtured talents and promoted national integration, it was subjectively the way for the rulers to consolidate their rule.  To educate the people of banners and improve their governance, the government successively promote banner education from lower level  to upper level, from the nobility to the disadvantaged. How  comprehensive and effective the proposal it is.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 06:33, 23 October 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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有清一代，促成旗学兴起、改革、发展与完善的因素颇多，其中既有皇帝个人的支持与投入，也有汉族官员的鼓吹，另有满洲大儒的力倡，使得旗人读书渐成风尚。而旗学对于翻译人才的培养，依其名目主要有两种不同的途径，其一为普通旗学中的翻译教育，其二为翻译官学、翻译义学等专门机构。上述机构在办理翻译教育，培养翻译人才时，往往皆有详细具体的典章制度，其内容涉及教习的延聘、学生的录取、教材的选用、课业的形式、考课的评定，以及奖惩的规定等，使翻译办学合乎规范。&lt;br /&gt;
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In the Qing Dynasty, there were many factors that contributed to the rise, reform, development and improvement of the school of banners, including the personal support and investment of the emperor, the advocacy of Han officials, and the strong advocacy of Manchu Confucianism scholars, which gradually had a hit among people of banners. According to its name, there are two different ways for the school of banners to cultivate translation talents. One is translation education in ordinary banner school, and the other is specialized institutions such as translation official school and free private translation school. When dealing with translation education and training translation talents, the above institutions often have detailed and specific laws and regulations, which involve the employment of teachers, the admission of students, the selection of teaching materials, the form of schoolwork, the evaluation of examination, as well as the provisions of rewards and punishments, so as to make the translation school run in line with the norms.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 06:20, 23 October 2021 (UTC)&lt;br /&gt;
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In the Qing Dynasty, there were many factors that contributed to the rise, reform, development and improvement of the school of banners, including the personal support and investment of the emperor, the advocacy of Han officials, and the strong advocacy of Manchu Confucianism scholars, which gradually had a hit among people of banners. According to its name, there are two different ways for the school of banners to cultivate translation talents. One is translation education in ordinary banner school, and the other is specialized institutions such as translation official school and free private translation school. When dealing with translation education and training translation talents, the above institutions often have detailed and specific laws and regulations, which involve the employment of teachers, the admission of students, the selection of teaching materials, the form of schoolwork, the evaluation of examination, as well as the provisions of rewards and punishments, so as to make the translation school run in line with the norms.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 05:19, 24 October 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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翻译教学在旗学教育中并非权宜之计，而是着眼长远的高瞻之举，其目的是培养德行纯正，谙悉汉书，兼通满、汉双语的语言人才，以飨治国理政之需。事实上，旗学中培养的翻译人才也的确成为嗣后处理文书，办理翻译的重要来源与支柱。虽然旗学的初衷是为了教导旗人崇实黜华，专心向学，固守民族根本，但实际操作中亦不乏与民族特质龃龉者，如“进学”政策即属此类，最终导致旗人学习意愿低落，旗学教育废弛，并殃及旗人的翻译能力与翻译人才培养，以致翻译之事难观其成。&lt;br /&gt;
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Translation teaching in the school of banners is not a stopgap measure, but a long-term forward-looking move, the purpose of which is to cultivate virtuous and pure, know the Chinese book, as well as bilingual Manchu and Chinese language talents, in order to serve the needs of governance and administration. In fact, the school of banners in the training of translators did become an important source and pillar of the subsequent processing of documents, for translation. Although the original purpose of banner school was to teach the banners to be more realistic and less flamboyant, to concentrate on learning, and to hold on to the fundamentals of the nation, there were many cases of disagreement with the national characteristics in actual operation, such as the policy of &amp;quot;entering school&amp;quot;, which eventually led to the low willingness of the banners to learn, and the neglect of banner school education, and affected the translation ability of the banners and the cultivation of translation talents, so that the translation matter It was difficult to see the success of translation.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 03:08, 22 October 2021 (UTC)&lt;br /&gt;
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Translation teaching in the school of banners is not a temporary expedient , but a far-sighted move, the purpose of which is to cultivate virtuous talents, who skill in Chinese culture, as well as bilingual talents  in Manchu and Chinese, in order to serve the needs of governance and administration. In fact, in the school of banners, the training of translators did become an important source and pillar of the subsequent processing of documents, for translation. Although the original purpose of banner school was to teach the banners to be more realistic and less flamboyant, to concentrate on learning, and to hold on to the fundamentals of the nation. There were many cases of disagreement with the national characteristics in actual operation, such as “admission policy”, which eventually led to the low willingness of the banners to learn, and the neglect of banner school education, and affected the translating ability of the banners and the cultivation of translation talents, so it’s  difficult to see the improvements in translation.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:15, 31 October 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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译才培养几近废置，与“开国之初，风气淳朴”、“从前满洲，……尚能将小说、古词翻译成编”相比，早已不可同日而语。（中国第一历史档案馆，2000：370）*基金项目：① 教育部人文社科基金项目“清代中前期翻译政策研究”；② 湖南省社会科学基金项目“清代中前期翻译政策的具体形态与变化轨迹研究”，项目批准号：20YBA131；③ 湖南省教育厅重点项目“清代中前期翻译政策研究”，项目批准号：20A222。&lt;br /&gt;
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The cultivation of translator was almost abandoned. Compared with the atmosphere in the beginning of the foundation of Republic of China and compilation of the translation of novels and poems, it had already been different. (The First Historical Archives of China, 2000: 370) * Fund Project: ① MOE(Ministry of Education in China) Project of Humanities and Social Sciences Project “Research on translation policy in the early and mid Qing Dynasty”; ② Project of Humanities and Social Sciences of the Hunan Province “specific pattern and development of the translation policy in the early and mid Qing Dynasty”, Project batch number:20YBA131; ③Key Project of the Ministry of Education “Research on translation policy in the early and mid Qing Dynasty”, Project batch number: 20A222.&lt;br /&gt;
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The cultivation of translator was almost abandoned. Compared with “the simple atmosphere in the beginning of the foundation of country” and “Manchuria translators used to be able to translate novels and ancient words into compilations” it had already been different. (The First Historical Archives of China, 2000: 370) * Fund Project: ① MOE(Ministry of Education in China) Project of Humanities and Social Sciences Project “Research on translation policy in the early and mid Qing Dynasty”; ② Project of Humanities and Social Sciences of the Hunan Province “specific pattern and development of the translation policy in the early and mid Qing Dynasty”, Project batch number:20YBA131; ③Key Project of the Ministry of Education “Research on translation policy in the early and mid Qing Dynasty”, Project batch number: 20A222.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 06:49, 31 October 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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清代翻译科缘起考——顺治八年还是雍正元年？&lt;br /&gt;
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摘要：翻译科是清代特设之科目，及八旗科举制度之独特构成，它创设于雍正元年，而非顺治八年。顺治八年，礼部遵圣谕办理首科八旗科举考试，对应试者分别考试清字文章与翻译，为翻译科的创设提供了制度雏形。&lt;br /&gt;
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The Origin of Translation Studies in Qing Dynasty -- The Eighth Year of Shunzhi or the First Year of Yongzheng?&lt;br /&gt;
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Abstract: Translation was a special subject in Qing Dynasty and a unique component of the Eight Banners Imperial Examination System. It was established in the first year of Yongzheng, not the eighth year of Shunzhi. In the eighth year of Shunzhi, the Ministry of Rites conducted the first Eight Banners imperial examinations in accordance with the instructions of Emperor, and the corresponding candidates were separately tested for Manchu articles and translations, which provided a prototype for the establishment of the translation subject.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:32, 27 October 2021 (UTC)&lt;br /&gt;
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The Origin of Translation Studies in Qing Dynasty -- The Eighth Year of Shunzhi or the First Year of Yongzheng?&lt;br /&gt;
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Abstract: Translation was a special subject in Qing Dynasty and a unique component of the Eight Banners Imperial Examination System. It was established in the first year of Yongzheng, not the eighth year of Shunzhi. In the eighth year of Shunzhi, the Ministry of Rites conducted the first Eight Banners imperial examinations in accordance with the instructions of Emperor, which separately tested the corresponding candidates' Manchu articles and translations, having provided a prototype for the establishment of the translation subject.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:27, 27 October 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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然而，此时的翻译考试虽在内容上与翻译科相似，性质和意义上却与后者颇为不同，它既未独立成科，又缺乏独立、自主的制度设计。《清史稿》、《雍正会典》及两部《会典事例》（嘉庆、光绪）中，均将顺治八年视作翻译科之缘起，明显属于误记，其说法不仅见岐于《清实录·世祖章皇帝实录》，而且与《八旗通志》、《钦定国子监志》等也有较大出入。翻译科的创设有着丰富的政治文化意涵，其根本目的在于维护“国语骑射”的满洲旧制。&lt;br /&gt;
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However, although the content of the translation examination at this time was similar to that of the translation subject, it was actually different from the latter in nature and significance. It was not an independent subject and was also lack of an independent system design. In ''The Draft of Qing History'', ''The Yongzheng Congress'' and two ''Examples of the Congress'' (Jiaqing and Guangxu), the eighth year of Shunzhi was regarded as the origin of the translation subject, which is obviously a misrecording. Its statement not only differs from ''The Records of the Qing Dynasty Emperor'', but also from ''The Records of the Eight Banners'' and ''the Records of the Imperial Academy''. The creation of translation section had rich political and cultural implications, and its fundamental purpose was to maintain the old Manchu system of &amp;quot;national language and  horsemanship and archery&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:50, 27 October 2021 (UTC)&lt;br /&gt;
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''The Records of the Imperial Academy''&lt;br /&gt;
The creation of translation subject&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 08:41, 30 October 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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关键词：翻译科    八旗科举    顺治八年    雍正元年    政治文化意涵&lt;br /&gt;
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导论：古代科举取士分“文”、“武”两类，其中文举兴于隋，武举始于唐，二者在公为求人才，在私为求入仕，此后虽经宋、元、明、清等朝，仍相沿不替。清代的科举制度因袭明制，虽在细节上与后者存在不同，但整体上仍以正途为重，而以异途为轻，并与明朝一样，仍以“养士”、“取士”并重，成为国家任贤取士与成就治道的重要途径。&lt;br /&gt;
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Key words:Translation subjects  Imperial Examinations of Eight banners  The eighth year of Shunzhi dynasty   The first year of Yongzheng dynasty  Political and cultural implications&lt;br /&gt;
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Introduction:In ancient times, imperial examinations were divided into two categories, namely &amp;quot;wen&amp;quot; and &amp;quot;wu&amp;quot;. The Chinese examination originated in Sui Dynasty, and the martial examination began in Tang Dynasty. For the imperial court, the two kinds of examinations were to seek talents, and for the imperial examination people were to seek the position of an official. After that, although the Song, Yuan, Ming and Qing dynasties, they were still in succession.The imperial examination system of the Qing Dynasty was based on the Ming system. Although it was different from the Ming system in details, the imperial examination system of the Qing Dynasty still paid more attention to the right path than to the informal path. Like the Ming Dynasty, it still paid equal attention to training and selecting talents, which became an important way for the state to appoint and select talents and achieve political achievements.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 14:19, 22 October 2021 (UTC)&lt;br /&gt;
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The ancient imperial examination was divided into &amp;quot;Wen&amp;quot; and &amp;quot;Wu&amp;quot;. The Chinese imperial examination flourished in the Sui Dynasty and the martial arts examination began in the Tang Dynasty. The two sought talents in the public and officials in the private. After that, the imperial examination still existed in  Song,  Yuan, Ming and Qing Dynasties. The imperial examination system in the Qing Dynasty followed the Ming system. Although it was different from the latter in details, it still focused on the right path than the wrong path as a whole.  At the same time,like the Ming Dynasty, it still paid equal attention to &amp;quot;cultivating scholars&amp;quot; and &amp;quot;selecting scholars&amp;quot;, which has become an important way for the country to appoint talents and achieve governance.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 01:52, 29 October 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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清代之科举取士不但袭用前朝旧制，使旗人、汉人同场竞技，而且另辟蹊径，创制满洲特色之翻译科，为旗人入仕、进身提供专途。清代的翻译科举制度是清代翻译政策的重要形态，后者则是清代政治、文化事业的重要组成部分。翻译无疑是文化和历史的产物，其对特定社会历史阶段的时空条件有着极其强烈的依附性。&lt;br /&gt;
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The imperial examination in the Qing Dynasty not only adopted the old system of the previous dynasty to make the  banner  people and Han people compete together, but also found a new way to create a translation department with Manchu characteristics, so as to provide a special way for the banner people to enter the official . The translation imperial examination system in the Qing Dynasty was an important form of translation policy in the Qing Dynasty, and translation policy was an important part of the political and cultural undertakings in the Qing Dynasty. Translation is undoubtedly the product of culture and history. It has an extremely strong dependence on the space-time conditions of a specific social and historical stage.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:40, 28 October 2021 (UTC)&lt;br /&gt;
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In the Qing dynasty, the imperial examination not only followed the old system of the previous dynasties to make the Han people and the banner men compete in the same field, but also found new ways of creating a translation department with Manchurian characteristics to provide a special way for the banner men to engage in politics or promote. The imperial system of translation examination was an important form of translation policy in the Qing Dynasty, and the latter was a significant part of political and cultural undertakings in the Qing Dynasty. It is undoubted that translation is the product of culture and history, and it is highly dependent on the space-time conditions of a specific social and historical stage.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 02:37, 29 October 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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就其整体而言，翻译主要不是译者的个体行为，而是有条件、有组织、有指向、有作用的集体行为，乃至国家意志行为。固然，翻译是文化更新或演进的重要途径，它可以促进宿语文化的新陈代谢，但文化作用显然不是翻译功能的全部。（袁帅亚，2020：124）以清代翻译科为例，它的创制便具有十分明显的政治动因与意涵。&lt;br /&gt;
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Translation considered as a whole is not an individual behavior of the translator, but a collective action with conditions, organization, direction and effect, and even the will of state. To be sure,translation is an important way of cultural renewal or evolution, it can promote the metabolism of ancient culture, but obviously the role of culture is not the whole function of translation . (Yuan Shuaiya, 2020:124) Taking translation studies in the Qing Dynasty as an example, its creation had clear political motivations and implications.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 12:17, 27 October 2021 (UTC)&lt;br /&gt;
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As a whole, translation is not the translator's individual behavior, but a conditional, organized, directed and effective collective behavior, and even the will behavior of a state. Of course, translation is an important way of cultural renewal or evolution. It can promote the metabolism of host culture, but the cultural function is obviously not the whole function of translation. (Yuan Shuaiya, 2020:124) Taking the &amp;quot;Translation Subject&amp;quot; of the Qing Dynasty as an example, its creation has very obvious political motivation and implication.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:49, 28 October 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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众所周知，清代翻译科的创制缘起于雍正年间。雍正帝即位伊始，即对传统科举制度进行改革，不仅改革了考官的选派，而且变更了考试的重点与内容，放宽了考生的资格审查。同时，为了表示对于翻译事业的重视，雍正即位之初即在传统八旗科举考试中增设翻译科目，并将其从后者中单列出来，形成自行独立的制度形式，即今之所谓“翻译科”。&lt;br /&gt;
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As we all know, the creation of Translation Subject in the Qing Dynasty originated in the Yongzheng period. At the beginning of Emperor Yongzheng's accession to the throne, he reformed the traditional imperial examination system, which not only reformed the selection of examiners, but also changed the focus and content of the examination, and relaxed the qualification examination of examinees. At the same time, at the beginning of Yongzheng's accession to the throne, he added translation subjects in the traditional eight banners imperial examination in order to show the importance of translation. Moreover, Yongzheng also listed translation subject separately from the traditional eight banners imperial examination, forming an independent institutional form, which is now the so-called &amp;quot;Translation Subject&amp;quot;. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 13:32, 25 October 2021 (UTC)&lt;br /&gt;
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As is known to all, the creation of Translation Department in the Qing Dynasty originated in the Yongzheng period. At the beginning of Emperor Yongzheng's accession to the throne, he reformed the traditional imperial examination system, which not only reformed the selection of examiners, but also changed the focus and content of the examination, and relaxed the qualification examination of examinees. At the same time, at the beginning of Yongzheng's period, he added translation department in the traditional eight banners imperial examination in order to show the importance of translation. Moreover, Yongzheng also listed translation subject separately from the traditional eight banners imperial examination, forming an independent institutional form, which is now the so-called &amp;quot;Translation Department&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 12:22, 29 October 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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雍正帝创设的翻译科包括满洲、蒙古二科，分童试、乡试和会试三级，由八旗满洲、蒙古根据相关规定报名应试。翻译科自雍正元年（1723年）始设，至光绪三十一年（1905年）和文科举一并废止，前后历时一百八十二年。作为一种教育制度，以及官员选拔制度，翻译科既为清廷选拔了大量翻译人才，又为八旗满洲、蒙古和汉军提供了进身之阶，它的存在尽管有其自身缺陷，却在相当程度上弥补了门阀制度的不足，为研究清代政治与文化提供了独特视角与价值。&lt;br /&gt;
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The Translation Department created by the emperor YongZheng includes Manchuria and Mongolia II and divided into Boy trial, provincial examinations, and metropolitan examination. Eight Banners Manchuria and Mongolian should register for the examination according to relevant regulations . The Translation Department  , which lasted 182 years, was established in the First Year of YongZheng (1723) and was abolished with Literary Imperial Examination in the 31st of GuangXu(1905). As an educational system, as well as the selection system of officials, the Translation Department not only selected a large number of translation talents for the Qing Dynasty, but also provide a step forward  for  Eight Banners Manchuria, Mongolia and the Han Army. Despite its own shortcomings, the Translation Department, to a considerable extent, made up for the deficiency of the System of Dominant Family and  provides a unique perspective and value for the study of Qing Dynasty politics and culture.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 15:50, 23 October 2021 (UTC)&lt;br /&gt;
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The Translation Department was created by the emperor YongZheng including Manchuria and Mongolia. It was divided into Boy trial, provincial examinations, and metropolitan examination. Manchuria and Mongolian should register for the examination according to relevant regulations. The Translation Department lasting for 182 years was established in the First Year of YongZheng (1723) and was abolished with Literary Imperial Examination in the 31st of GuangXu(1905). As an educational system, as well as the selection system of officials, the Translation Department not only selected a large number of translation talents for the Qing government, but also provided a step forward  for  Eight Banners Manchuria, Mongolia and the Han Army. Despite its own shortcomings, the Translation Department, to a considerable extent, made up for the deficiency of the System of Dominant Family and  provided a unique perspective and value for the study of Qing Dynasty politics and culture. --[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 05:51, 24 October 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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一、翻译科的制度雏形：清初八旗科考中的翻译考试&lt;br /&gt;
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翻译科乃清代特设之科目，及八旗科举之独特构成，其渊源可远溯至太宗皇太极时期。天聪三年，太宗诏令更易明例，以考试分别优劣，振兴文治。&lt;br /&gt;
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Fisrt. The institutional rudiment of Transaltion: The Translation Examination in the Eight Banners Imperial Examination in the early Qing Dynasty&lt;br /&gt;
Translation was a special subject set in qing Dynasty and a unique composition of the Eight Banners Imperial Examination. It can be traced back to the period of Emperor Taizong Huang Taiji. In the third year of Tiancong period, Taizong edicted the revision of the Ming's law to distinguish good from bad by examination for revitalization of culture.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:08, 24 October 2021 (UTC)&lt;br /&gt;
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Fisrt. The institutional rudiment of Transaltion: The Translation Examination in the Imperial Examination of Eight Banners in the early Qing Dynasty. &lt;br /&gt;
Translation was a special subject set in Qing Dynasty and a unique composition of the Imperial Examination of Eight Banners. It can be traced back to the period of Emperor Taizong Huang Taiji. In the third year of Tiancong period, Taizong ordered to the revise the regulations of Ming's law to distinguish good from bad by examination for the great purpose of cultural revitalization.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 15:04, 30 October 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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八年，太宗命礼部“考取通过满洲、蒙古、汉书文义者为举人。”（范文程、刚林等，1985：73）崇德三年和六年，朝廷遵太宗圣谕再次办理考试，分举人、生员进行取用，授以官职。上述举措的推出使清初的考试任官得以朝着制度化的方向发展。&lt;br /&gt;
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In the eighth year of Tiancong period, Taizong gave order to the Ministry of Rites that he who passes the translation examination of Manchurian, Mongolian and Chinese shall be elected a successful candidate.(Fan Wencheng, Gang Lin et al.1985:73). In the third and sixth year of Chongde period, the imperial court organized the great examination again under the order of Taizong emperor, employing and appointing candidates and scholars seperately. The successful implement of above-mentioned actions had made the appointment by examination in the early period of Qing Dynasty develop as a institutionalized system possible.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:49, 30 October 2021 (UTC)&lt;br /&gt;
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In the eighth year, Emperor Taizong ordered the Ministry of Rites to &amp;quot;take those who passed the Manchurian, Mongolian, and Chinese literary examinations as jurists.&amp;quot; (Fan Wencheng, Ganglin, et al., 1985: 73) In the third and sixth years of Chongde, the court followed the imperial edict of Emperor Taizong to conduct the examination again, divided into jurists and students for appointment and granted official positions. The introduction of the above initiatives enabled the early Qing Dynasty to institutionalize the development of the examination and appointment of officials.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 07:15, 1 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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崇德八年，太宗猝崩，世祖继位，由睿亲王多尔衮摄政。为吸纳汉族士子，多尔衮于顺治元年十月颁布诏谕，循明制开科考。至顺治八年，世祖亲政，谕礼部研议八旗科举则例，并首开八旗科举，分乡试与会试两种，满洲、蒙古和汉军皆可参加，一时间令旗人崇文之风盛行。&lt;br /&gt;
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In the 8th year of Chongde, emperor Taizong died suddenly, Shizu succeeded to the throne, by Prince Dorgon acted as regent. In order to recruit the Han scholar, Dorgon in the first year of Shunzhi promulgate a law in October, according to the Ming dynasty to open the imperial examination.To the 8th year of Shunzhi, Shizu took over the reins of government upon coming of age, ordained the Ministry of Rites to study and discuss the Eight Banners of of rules and regulations. And opened the first Eight Banners of imperial examination, divided into two kinds of examinations, provincial examination and metropolitan examination, Manchurian, Mongolian and Han military could participate, a wind of learning culture and literature between banners people prevailed at that time.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:13, 23 October 2021 (UTC)Yi Yangfan&lt;br /&gt;
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In the eighth year of Chongde, Emperor Taizong died suddenly, and Emperor Shizu succeeded to the throne, Prince Dorgon acting as regent. In order to recruit the Han scholars, Dorgon promulgated a law that imperial examination followed the tradition of the Ming dynasty in October, the first year of Shunzhi. Till the eighth year of Shunzhi, Emperor Shizu took over the reigns of government, ordaining the Ministry of Rites to study and discuss the Eight Banners of of rules and regulations. It was the first time that opened the first Eight Banners of imperial examination, including two kinds of examinations, provincial examination and metropolitan examination. Manchurian, Mongolian and Han military could participate, a wind of learning culture and literature between banners people prevailed at that time.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:08, 25 October 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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然而，由于清廷担心旗人汉语能力不及汉族，故在考试中对应试者进行区分，要求识汉字者翻译汉文，不识汉字者则作清字文。（鄂尔泰等，1985：457）在考试中加入翻译内容，并将取中情况分榜公布，此举乃太宗时期所未见，实为八旗科目之肇始。（福格，1997：187）本次始设的翻译考试继承了金朝女直进士科的传统，并在后者基础上对考试的程序和体制进行改革，旨在选取通晓满、蒙、汉语的八旗翻译人才。&lt;br /&gt;
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However, due to the officials of Qing Government worried about that Manchu Bannerman were inferior to the Han people in terms of the proficiency of Chinese, they differentiated the examination candidates. Those who spoke Chinese were required to translate the Chinese, while those who were unable to read Chinese were required to translate Manchu. (Ortai, etc. , 1985：457)Translation became a part of the examination, and the result would be published. This was something that did not happen during the Reign of Hong Taiji, and it was actually the beginning of the Eight Banners Subject. (Forge, 1997: 187)This first translation examination inherited the tradition of Jurchen the highest imperial examination in the Jin Dynasty, and reformed the examination procedures and system on the basis of the later generations, aiming at selecting the eight banners translation talents who were familiar with Manchu, Mongolian and Chinese.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:38, 25 October 2021 (UTC)&lt;br /&gt;
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However, officials of Qing Government worried that Manchu Bannerman were not as good as Han people in terms of the proficiency of Chinese,so they differentiated the examination candidates. Those who could speak Chinese were required to translate the Chinese scripts, and those who couldn't were required to translate Manchu language. (Ortai, etc. , 1985：457)Translation became a part of the examination, the result of which would be published. This was something that did not happen during the Reign of emperor Taizong, and it was actually the beginning of the Eight Banners Subject. (Forge, 1997: 187)This first translation examination inherited the tradition of Jurchen the highest imperial examination in the Jin Dynasty, on which the reform of the examination procedures and system was based, with the aim of selecting the Eight Banners translation talents who were proficient in Manchu, Mongolian and Chinese languages.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:52, 26 October 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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然而，旗人崇尚文学，并经考试“即得陞用”，此举又容易导致其怠于武事。因而顺治十四年，世祖敕谕礼部、吏部和兵部，宣布停止八旗科举。（鄂尔泰等，1985：832）可是，停止旗人考试，使汉人独占科举仕途，又会造成八旗士子失去进身之阶。&lt;br /&gt;
However, Banner People's act of advocating literature and the move of &amp;quot;getting promoted&amp;quot; through examination resulted in idleness in military affairs. Therefore, in the fourteenth year of the reign of emperor Shunzhi, the emperor ordered the Ministry of Rites,the Ministry of Civil Affairs and the Ministry of Military Affairs to terminate the Eight Banners imperial examination. Nevertheless, the termination of the exam would lead to the Han people's monopolization in official careers and the Eight Banner people's loss of opportunities for promotion.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:37, 26 October 2021 (UTC)&lt;br /&gt;
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However, Banner People's act of advocating literature and &amp;quot;getting promoted&amp;quot; through examination resulted in idleness in military affairs easily. Therefore, in the fourteenth year of the reign of Emperor Shunzhi, the Emperor ordered the Ministry of Rites,the Ministry of Civil Affairs and the Ministry of Military Affairs to terminate the Eight Banners imperial examination. Nevertheless, the termination of the exam would lead to Han people's monopolization in official careers but the Eight Banner people's loss of opportunities for promotion.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 11:17, 27 October 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是康熙二年，圣祖上谕，令八旗乡试复行，并应御史徐诰武奏请，拟定于康熙六年起令满洲、蒙古、汉军与汉人一体参加会试。（马齐等，1985：328）康熙十二年，三藩之乱起，为避免旗人专心习文，致使武备松懈，朝廷遵圣谕决定效法世祖旧例，自康熙十五年起停办科举，此举维系至康熙二十六年，虽停办时间不长，影响却较为深远。世宗即位后，对康熙后期以来的八旗弊政进行反思，其中即包括旗人的清语学习。&lt;br /&gt;
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Therefore, in the second year of Kangxi, Emperor issued the order to resume the provincial examinations of the Eight banners. At the request of censor, Xu Gaowu,it was planned that the armies of Manchuria, Mongolia, and Han and Han people would participate in the examinations in the sixth year of Kangxi. (Ma Qi et al., 1985:328) In the twelfth year of Kangxi, the chaos of the three feudatories broke out. To avoid that the people of Eight Banners would concentrate on the study literature, leading to the lax military preparations, the court decided to follow the old principles of Emperor of Shizu and stopped holding the imperial examinations from the 15th year of Kangxi and lasted the stopping to the twenty-sixth years of Kangxi. Although the suspense time was not long, this measure produces far-reaching influence. After Emperor Shizong ascended the throne, he reflected the drawbacks of the Eight Banners politics since the late Kangxi period, including the learning of Qing language.&lt;br /&gt;
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Therefore, in the second year of Kangxi, Emperor issued the order to resume the provincial examinations of the Eight banners. At the request of imperial censor, Xu Gaowu,it was planned that the armies of Manchuria, Mongolia, and Han and Han people would participate in the examinations in the sixth year of Kangxi. (Ma Qi et al., 1985:328) In the twelfth year of Kangxi, the chaos of the three feudatories broke out. To avoid that the people of Eight Banners would concentrate on learning, leading to the slackening of military, the court decided to follow the old practices of the Emperor Shizu ,stopping holding the imperial examinations since the 15th year of Kangxi and lasting the stopping to the twenty-sixth years of Kangxi. Although the suspense time was not long, this measure has produced far-reaching influence. After the Emperor Shizong ascended the throne, he reflected the drawbacks of the Eight Banners politics since the late Kangxi period, including the learning of Qing language.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 06:52, 27 October 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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由于当时的旗人普遍不谙清语，每遇翻译、说写之时，“字句偶有失落，语音或有不正”的情况比比皆是，世宗为此多次晓谕八旗，令八旗兵丁务必以学习清语为要。（张玉书、允禄等，1983：8）雍正初年，世宗降旨总理王大臣，命其会同礼部、兵部研议翻译科之事，目的正在于激励旗人勤习国语，专精骑射。&lt;br /&gt;
毫无疑问，顺治年间增设的翻译考试系清初以来科举取士的接续与发展，它既是统治者因应时势的积极创举，也是长期以来铨选翻译考试传统的自然产物。&lt;br /&gt;
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As the banners were generally unfamiliar with the Qing language, whenever they translated、talked or wrote, there were many cases of &amp;quot;occasional loss of words and incorrect speech&amp;quot;, and for this reason, the Emperor Shizong repeatedly instructed the eight banners to make sure that the soldiers had to learn the Qing language in the first place. (Zhang Yushu, Yunlu et al., 1983: 8) In the early years of Yongzheng, the Emperor Shizong decreed the Prime Minister, ordering him to work with the Ministry of Rites and the Ministry of War to discuss the matter of translation, and the purpose was to encourage the banners to study the national language and specialize in archery. There is no doubt that the Shunzhi years of the additional translation examination is the continuation and development of the imperial examinations since the early Qing Dynasty, it is not only a positive initiative of the ruler in response to the current situation, but also a natural product of the long tradition of the civil service translation examination.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 06:40, 27 October 2021 (UTC)&lt;br /&gt;
At that time, the people of the eight banners were generally unfamiliar with the Qing language. When translating, speaking and writing, the situation of &amp;quot;occasional loss of words and sentences, or incorrect pronunciation&amp;quot; was everywhere. --[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 16:27, 30 October 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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事实上，通过铨选翻译考试选拔官吏，此法并非始于满清。如蒙元时期，朝廷便已有蒙古学考试，其中的一项重要内容即是翻译。《元典章》卷 31《礼部卷之四·学校一》中说，元世祖至元八月之际，朝廷在京师开设蒙古国子学，要求包括诸王在内的相关官员参与学习，并以《通鉴节要》的蒙语译本为教本，从习学生员中“选择俊秀，出策题试问，观其所对，精通者为中选，约量授以官职。”（陈高华等，2011：1081—1082）&lt;br /&gt;
In fact, the selection of officials through the civil service translation examination did not begin in the Manchu and Qing Dynasties. For example, in the Mongolian Yuan Dynasty, the imperial court had Mongolian examinations, one of which was translation. According to the book of rites IV. school I, Volume 31 of the laws and regulations of the Yuan Dynasty, from the emperor Shizu of the Yuan Dynasty to August of the Yuan Dynasty, the Imperial Court opened a Mongolian sub school in the capital, requiring relevant officials, including kings, to participate in the study. Taking the Mongolian translation of Tongjian jieyao as the teaching material, the students &amp;quot;choose Junxiu, make policy questions, judge what they are right, those who are proficient in it will be the winner, and they will be awarded official positions.&amp;quot; (Chen Gaohua et al., 2011:1081-1082)--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 08:47, 26 October 2021 (UTC)&lt;br /&gt;
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In fact, the selection of officials through the civil service translation examination did not begin in Manchu Qing Dynasty. For example, in the Mongolian Yuan Dynasty, the imperial court already had Mongolian examinations, one important of which was translation. According to the book of rites IV. school I, Volume 31 of the laws and regulations of the Yuan Dynasty, from the emperor Shizu of the Yuan Dynasty to the eighth month of the Yuan Dynasty, the Imperial Court opened a Mongolian sub school in the capital, requiring relevant officials, including every lord, to participate in the study. Taking the Mongolian translation of ''Tongjian Abstract'' as the teaching material, the students &amp;quot;choose Junxiu, make policy questions, judge what they are right, those who are proficient in it will be the winner, and they will be awarded official positions.&amp;quot; (Chen Gaohua et al., 2011:1081-1082)--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:09, 27 October 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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顺治年间的翻译考试继承了隋唐以来科举取士的基本特点，以及铨选翻译考试的任官传统，正所谓“兼备金元之制而加盛焉”。（汪师韩，1996：473）&lt;br /&gt;
作为多民族融合的统一国家，满清政权的政治特点之一便是语种林立，文化与习俗各不相同。出于统治需要，清初以来便在各级政府衙门设置专司文书的翻译和撰拟。&lt;br /&gt;
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The translation examination in the reign of Shunzhi inherited the basic characteristics of selecting scholars in the imperial examination since Sui and Tang Dynasties and the official tradition of the civil service translation examination. It is the so-called &amp;quot; more prosperity with both Jing and Yuan ruling system&amp;quot;. (Wang Shihan, 1996:473)&lt;br /&gt;
As a unified country with multi-ethnic integration, one of the political characteristics of the Manchu Qing Dynasty was that there were many languages and different cultures and customs. In order to meet the needs of reigning, since the early Qing Dynasty, special departments have been set up in government offices at all levels to translate and write documents.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:03, 27 October 2021 (UTC)&lt;br /&gt;
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The translation examination in the reign of Shunzhi emperor inherited the basic characteristics of selecting scholars in the imperial examination since Sui and Tang Dynasties and the official tradition of the civil service translation examination. It is the so-called &amp;quot; more prosperity with both Jing and Yuan ruling system&amp;quot;. (Wang Shihan, 1996:473)&lt;br /&gt;
As a unified multi-ethnic state, one of the political characteristics of the Manchu Qing Dynasty was that there were many languages and different cultures and customs. In order to meet the needs of reigning, since the early Qing Dynasty, special departments have been set up in government offices at all levels to translate and write documents.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 07:09, 27 October 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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其中，除最具代表性的笔帖式之外，内阁侍读、中书以及各部院主事等职官中，也有相当一部分人员担当翻译之责。同时，汉文典籍的翻译，以及满、蒙文字史籍的撰述等也需要大量翻译人才。所有这些人员的铨选、考核和派充等，都必须经过严格的翻译考试，择优录用。&lt;br /&gt;
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Among them, in addition to the most representative of the bithesi, the Cabinet, the Central Secretariat and the various ministries and other officials, there is also a significant part of the staff to play the responsibility of translation. At the same time, the translation of the Chinese canon, as well as the Manchu and Mongolian texts of history, such as the compilation of a large number of translators are also needed. All of these personnel are selected, assessed and sent to fill, must go through a rigorous translation examination, the merit of the recruitment.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:36, 23 October 2021 (UTC)&lt;br /&gt;
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Among them, in addition to the most representative of the bithesi, the Cabinet, the Central Secretariat and the various ministries and other officials, there is also a significant number of staff to take the responsibility of translation. At the same time, the translation of the Chinese canon and the compilation of Manchu and Mongolian history books also need a large number of translators. All of these personnel who are  selected, assessed and sent to fill must go through a strict translation examination, recruiting the better.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 08:42, 23 October 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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虽然这样的铨选翻译考试并不具备翻译科的性质，取中者往往不能获得科名，但翻译考试的结果仍是官员晋升、罢黜的重要依据，同时也为嗣后创制翻译科提供了制度雏形。&lt;br /&gt;
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二、《雍正会典》等关于顺治八年翻译科的误记&lt;br /&gt;
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关于清代翻译科的创设时间，主要有两种观点：一种认为是雍正元年，另一种则认为是顺治八年。&lt;br /&gt;
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Although such a translation examination used for selecting officials does not have the nature of translation department and the winner often cannot obtain the title . But the results of the translation examination are still an important basis for the promotion and dismissal of officials, and also provide an institutional prototype for the subsequent creation of the translation department.&lt;br /&gt;
Misinterpretation of the translation department in the eighth year of Shunzhi, such as the Yongzheng Canon&lt;br /&gt;
There are mainly two views on the establishment time of the translation department in the Qing Dynasty: one is the first year of Yongzheng, the other is the eighth year of Shunzhi.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:22, 22 October 2021 (UTC)&lt;br /&gt;
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Although such a translation examination used for selecting officials does not have the nature of translation department and the winner often cannot obtain the scholarly honor, the results of the translation examination are still an important basis for the promotion and dismissal of officials, and also provide an institutional prototype for the subsequent creation of the translation department.&lt;br /&gt;
Misinterpretation of the translation department in the eighth year of Shunzhi, such as Yongzheng Canon&lt;br /&gt;
There are mainly two views on the time of the establishment of the translation department in Qing Dynasty: one is the first year of Yongzheng, the other is the eighth year of Shunzhi.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 15:18, 22 October 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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雍正元年世宗诏谕举办满洲翻译乡试，而顺治八年出现了翻译进士麻勒吉与麻祐，两种说法各自有文献依据，互不能说服对方。如《清史稿》卷273《麻勒吉传》中，明确提及麻勒吉曾经参加翻译乡试，并于会试中取中第一。（赵尔巽，1976：10038）《清史稿》关于此事的记注源于《国朝耆献类征初编》，后者在卷十五中也指出麻勒吉“以翻译取中举人”。（周俊富，1986：767）&lt;br /&gt;
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In the first year of Yongzheng, the Emperor Shizong issued imperial edicts to hold Manchu translation examination, whereas in the 8th year of Shunzhi, it appeared two translation Chin-Shihs, Ma Leji and Ma You. Both claims were based on documentation and couldn’t convince each other. For instance, in the 273 volume of Qing History Draft—Biography of Ma Leji, it explicitly mentioned that Ma Leji had taken the translation examination and got the first in metropolitan examination of translation.  (Zhao Erxun, 1976:10038) The notation of this matter in Qing History Draft originated in A Collection of Biographies of Qing Dynasty Figures, which also mentioned that Ma Leji won the translation provincial graduate in Volume 15. (Zhou Junfu, 1986:767)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 15:07, 22 October 2021 (UTC)&lt;br /&gt;
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In the first year of Yongzheng, the Emperor Shizong issued imperial edicts to hold Manchu translation examination, whereas in the 8th year of Shunzhi, there appeared two translation Chin-Shihs, Ma Leji and Ma You. Both claims were based on documentation and couldn’t convince each other. For instance, in the 273 volume of Qing History Draft—Biography of Ma Leji, it explicitly mentioned that Ma Leji had taken the translation examination and got the first in metropolitan examination. (Zhao Erxun, 1976:10038) The notation of this matter in Qing History Draft originated in A Collection of Biographies of Qing Dynasty Figures which also mentioned that Ma Leji won the translation provincial graduate in Volume 15.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:24, 24 October 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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虽然上述两处记载中，均没有出现“翻译会试”字样，而只是说“以翻译举人举会试第一”，以及“明年会试第一名”，但支持者仍以顺治年间为翻译科的起始时间。将顺治八年的翻译考试视作清代翻译科的缘起，这种观点主要见诸于商衍鎏（2014：231）、王庆云（2001：34）和张杰（2007：193-194）等。在这些研究中，商衍鎏的观点尤其值得注意。&lt;br /&gt;
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Though in  two above-mentioned recordations, there were no “Metropolitan Examinations of Translation”, but appeared “the First-degree Scholar of translation is the champion of Metropolitan Examination” and “the champion of the Metropolitan Examination of the second year”. Supporters still regarded the translation section of Shun Zhi Period as the starting point. They believed that the translation examination during the eight years of Shun Zhi Perid is the origin of Qing’s translation, which was primarily held by Shang Yanliu (2014: 231), Wang Qinyun (2001: 34), Zhang Jie (2007: 193-194) and so forth. Among these researches, the opinions of Shang Yanliu in particular were worth paying close attention to.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 04:54, 22 October 2021 (UTC)&lt;br /&gt;
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There were no “Metropolitan Examinations of Translation”, but rather “the First-degree Scholar of translation is the champion of Metropolitan Examination” and “the champion of the Metropolitan Examination of the second year” in two above-mentioned recordation. Supporters still regarded the translation section in Shun Zhi Period as the starting point. The viewpoint that the translation examination during the eighth years of Shun Zhi Period is the origin of Qing’s translation was primarily held by Shang Yanliu (2014: 231), Wang Qinyun (2001: 34), Zhang Jie (2007: 193-194) and so forth. Among these researches, the opinions of Shang Yanliu in particular were worth paying close attention to.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:04, 25 October 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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商衍鎏乃清代末科八旗会试探花，先后授翰林院侍讲、国史馆协修，以及实录馆总校官等，他的看法具有代表性。《清代科举考试述录》中，商衍鎏对清代翻译科的阐述并不详实，仅论及翻译科的三个层次，即翻译童试、乡试与会试，但明确提及翻译科创设于顺治八年，指出这一年“定考试满洲、蒙古翻译”，而雍正时只是“复行考试”。（商衍鎏，2014：231）与商衍鎏等人不同，更多的人则是将翻译科之缘起归于雍正年间，如石桥崇雄（1988：5）、村上信明（2002：307）、屈六生（1993：229）、叶高树（2013：51）和邹长清（2013：145）等。&lt;br /&gt;
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Shang Yanliu won the third place in the eight banners examination at the end of qing Dynasty，and he successively served as a lecturer in the Academician Academy, an official in charge of typesetting and printing in the Imperial Scholar Hall, and a general verification officer in the Record Hall, etc. So His views are representative. In  ''Reference Recorded about Imperial Examination in the Qing Dynasty''，Shang Yanliu's explanation of translation in Qing Dynasty is not detailed and true. He only talks about three levels, namely, the children's test, the village test and the imperial examination. However, He explicitly mentions that the department of Translation was established in the eighth year of Shunzhi, pointing out that in that year, &amp;quot;Manchurian and Mongolian translation examinations were set up&amp;quot;, while in Yongzheng's reign, only &amp;quot;repeated examination&amp;quot; was conducted. （Shang Yanliu, 2014: 231) Different from Shang Yanliu et al., more people, such as Taxio Ishibashi (1988:5), Nobuaki Murakami (2002: 307), Qu Liusheng (1993: 229), Ye Gaoshu  (2013: 51) and Zou Changqing (2013: 145), attributed the establishment of the Department of Translation to the reign of Yongzheng.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 15:37, 22 October 2021 &lt;br /&gt;
Shang Yanliu won the number three in the eight banners’metropolitan examination at the end of Qing Dynasty，and he successively served as a lecturer in the Imperial Academy, an official in charge of typesetting and printing in the National History Institution, and a general verification officer in the Record Hall, etc. So His views are representative. In ''Reference Recorded about Imperial Examination in the Qing Dynasty'', Shang Yanliu's elaboration of translation in Qing Dynasty is not detailed and definite. He only discussed three levels, namely, the county examination, the provincial examination and the metropolitan examination. However, He explicitly mentioned that the department of Translation was established in the eighth year of Shunzhi, pointing out that &amp;quot;Manchurian and Mongolian translation examinations were set up&amp;quot;, while in Yongzheng's reign, only &amp;quot;office-hunter examination&amp;quot; was conducted. （Shang Yanliu, 2014: 231) Different from Shang Yanliu and others, more people, such as Taxio Ishibashi (1988:5), Nobuaki Murakami (2002: 307), Qu Liusheng (1993: 229), Ye Gaoshu  (2013: 51) and Zou Changqing (2013: 145), attributed the establishment of the Department of Translation to the reign of Yongzheng.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:40, 26 October 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另外，也有少数将翻译铨选考试视作翻译科缘起者。如康熙二十四年，清廷曾组织翰林院侍讲的考选，由圣祖仁皇帝钦试。此次考试的对象以各部院衙门中的无品笔帖式，以及旗人中的革职、闲散人员为主，含八旗满洲、蒙古及汉军，应试者必须通汉文，善翻译。&lt;br /&gt;
Besides , there are a few who regard the selecting officials test as the origin of the translation department. For example, in the 24th year of Kangxi's reign, the Qing government organized an examination of the imperial tutor of the Imperial Academy, which was conducted by Emperor shengzuren. The participant of this examination are mainly the non-rank officials of various ministries and institutes who are proficient in translating, as well as the dismissed and idle personnel among the people, including the Manchuria, Mongolia and Han army of the eight banners. The candidates must be familiar with Chinese and specialize in translation.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:37, 26 October 2021 (UTC)&lt;br /&gt;
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In addition, there are a small number of people who regard the translation qualification examination as the origin of the translation department. For example, in the twenty-fourth year of Kangxi, the Qing court organized an examination for the attendants of the Hanlin Academy, and the emperor Shengzuren tested it. The subjects of this examination are mainly the unskilled pen-post styles in various ministries and institutions, as well as the dismissed and idle personnel from the banner people, including the Eight Banners Manchuria, Mongolia and Han forces. The candidates must be proficient in Chinese and good at translating.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:49, 27 October 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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由于清代政书中对于此类考试并无统一命名，故多称之为“铨选”，即“选才授官”之意。简单来说，所谓“铨选”即是指各部院衙门通过考试翻译，从应试考生中选取成绩优异者，授官或派充至各部衙门，负责行政文书的翻译和撰拟，其主要的形式包括笔帖式、内阁侍读与侍讲、中书、通事、监贡等。正是由于铨选翻译考试的自身特点，有人便将其与翻译科考等而视之，不加区分。&lt;br /&gt;
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Since there was no uniform name for this type of examination in the political books of the Qing Dynasty, it was often called &amp;quot;Quan Xuan&amp;quot;, which meant &amp;quot;selecting talents and conferring officials&amp;quot;. To put it simply, the so-called &amp;quot;selection&amp;quot; refers to the translation and translation of various ministries, colleges, and offices, and select candidates with excellent grades from the candidates, appoint officials or assign them to various ministries and offices, and be responsible for the translation and writing of administrative documents. Its main form is Including pen-and-post style, cabinet reading and lectures, Zhongshu, Tongshi, Jian Gong, etc. It is precisely because of the characteristics of the translation test that some people regard it as the translation test and so on, without distinguishing it.&lt;br /&gt;
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Since there was no uniform name for this type of examination in the political books of the Qing Dynasty, it was often called &amp;quot;Quan Xuan&amp;quot;, which meant &amp;quot;selecting talents and conferring officials&amp;quot;.In short, the so-called &amp;quot;Quan Xuan&amp;quot; refered to various ministries and institutes selected outstanding students from the examinees through the examination translation，then awarded them with a title and office or assigned them to various ministries and offices, and be responsible for the translation and writing of administrative documents. It mainly involved pen-and-post style, cabinet reading and lectures, Zhongshu, Tongshi, Jian Gong, etc. It is precisely because of the characteristics of &amp;quot;Quan Xuan&amp;quot;, that some people regarded it as  translation test.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 03:09, 28 October 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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那么，清代翻译科是否滥觞于顺治八年？或者说，顺治八年出现的翻译考试是否具备翻译科的正式形态？欲回答此问题，务必先对《清实录·世祖章皇帝实录》中的一段记载进行摘引与分析，其中写道：顺治八年六月壬申，礼部议：八旗科举例，凡遇应考年分，内院同礼部考取满洲生员一百二十名、蒙古生员六十名，顺天学政考取汉军生员一百二十名。&lt;br /&gt;
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So, did translation department in the Qing Dynastystarted in the eighth year of Shunzhi? or did the translation examination in the eighth year of Shunzhi had the formal form of the translation department? To answer this question, we need to analyze the passage from the book named In Veritable Records of Qing Dynasty ·Veritable Records of Shunzhi Emperor. In this book, it said in June of  the eighth year of emperor Shunzhi, The Ministry of Rites made the examination regulations of the Eight Banners. In the year of examination,The Cabinet and The Ministry of Rites would admit 120 students from Manchuria, 60 students from Mongolia, and120 Chinese Banners would be admitted by Shuntianfu Academy.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 10:50, 23 October 2021 (UTC)&lt;br /&gt;
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So,did Translation Department of Qing Dynasty started in the eighth year of Shunzhi? Or in other words, did the translation examination in the eighth year of Shunzhi have the formal form of the Translation Department? To answer these questions, we must first cite and analyze a record of the book named Factual Record of Qing Dynasty ·Factual Record of Shunzhi Emperor. In this book, it said in June of  the eighth year of emperor Shunzhi, The Ministry of Rites made the examination regulations of the Eight Banners. As long as in the year of examination,The Cabinet and The Ministry of Rites would admit 120 students from Manchuria, 60 students from Mongolia, and 120 students of Han military army would be admitted by Shuntian school administration.&lt;br /&gt;
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annotation: &lt;br /&gt;
Renshen壬申）：One of the main branches in Heavenly Stems and Earthly Branches, the ninth in order.&lt;br /&gt;
学政：1. education; 2. abbreviation of supervising school administraton. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 05:34, 27 October 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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乡试取中满洲五十名、蒙古二十名、汉军五十名。各衙门无顶带笔帖式亦准应试，满洲、蒙古识汉字者，翻汉字文一篇；不识汉字者，作清字文一篇，汉军文章篇数如汉人例。会试取中满洲二十五名、蒙古十名、汉军二十五名。&lt;br /&gt;
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The country-level examination took 50 from Central Manchuria, 20 from Mongolia and 50 from the Han military army. Each yamen which doesn't set up  Dingdai Bithesi is also allowed to take the examination.Those who knew Chinese characters in Manchuria and Mongolia have to translate a Chinese character eaasay; Those who did not know Chinese characters had to write one article in Qing characters, and the number of articles in Han military army was as same as that of Han people. The metropolitan examination will take 25 from Central Manchuria, 10 from Mongolia and 25 from the Han military army.&lt;br /&gt;
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annotation： &lt;br /&gt;
*Dingdai（顶带）: the official cap button in the Qing Dynasty with the meaning of being thankful and saluting.It shows various ranks by button of precious stone on top.&lt;br /&gt;
*Bithesi（笔帖式）：official name. Translated from Manchu.During the Kangxi period, the Yamen of each department set up Bithesi,including translation,coping writing and other titles.&lt;br /&gt;
*Han military army（汉军）: Han soldiers who defected to the Manchu invaders&lt;br /&gt;
*The metropolitan examinatiion(会试）: In the imperial examination era, it gathered the examiners from all provinces in the capital.&lt;br /&gt;
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The country-level examination took 50 from Central Manchuria, 20 from Mongolia and 50 from the Han military army. Each yamen which didn't set up  Dingdai Bithesi was also allowed to take the examination.Those who knew Chinese characters in Manchuria and Mongolia had to translate a Chinese character eaasay; Those who did not know Chinese characters had to write one article in Qing characters, and the number of articles in Han military army was as many as that of Han people. The metropolitan examination will take 25 from Central Manchuria, 10 from Mongolia and 25 from the Han military army.&lt;br /&gt;
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annotation： &lt;br /&gt;
*Dingdai（顶带）: the official cap button in the Qing Dynasty with the meaning of being thankful and saluting.It shows various ranks by button of precious stone on top.&lt;br /&gt;
*Bithesi（笔帖式）：official name. Translated from Manchu.During the Kangxi period, the Yamen of each department set up Bithesi,including translation,coping writing and other titles.&lt;br /&gt;
*Han military army（汉军）: Han soldiers who defected to the Manchu invaders&lt;br /&gt;
*The metropolitan examinatiion(会试）: In the imperial examination era, it gathered the examiners from all provinces in the capital.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:05, 27 October 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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各衙门他赤哈哈番笔帖式、哈番俱准应试，满洲、蒙古识汉字者，翻汉字文一篇，作文章一篇；不识汉字者，作清字文二篇，汉军文章篇数如汉人例。报可。（鄂尔泰等，1985：457）&lt;br /&gt;
上文中，礼部所奏涉及八旗乡、会试的额数与形式等。&lt;br /&gt;
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Each yamen held a written examination, and Hafan asked them to take the exam. People who know Chinese characters in Manchuria and Mongolia translate a Chinese character article and write a composition; Those who do not know Chinese characters write two Qing characters, and the number of articles written by the Han army is as many as that of the Han people. Yes. (ertai et al., 1985:457)&lt;br /&gt;
In the above, the Ministry of rites involves  eight flag Township and the amount and&lt;br /&gt;
form of examination.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:31, 27 October 2021 (UTC)&lt;br /&gt;
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Each government office holds two kinds of tests. Those who understand the characters in Manchuria and Mongolia translate one passage in Chinese characters and write an article; those who do not are required to finish two passage in Qing language; the number of articles for the Han army are as many as those of the Han people. Just as it is reported. ( Ertai et al., 1985 : 457 ) In the above, the Ministry of Rites are in charge of the region of the Eight Banners and the number and form of examination.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 02:12, 31 October 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210929_homework&amp;diff=134919</id>
		<title>20210929 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210929_homework&amp;diff=134919"/>
		<updated>2021-12-30T08:02:19Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 日语语言文学	202120081562	邹岳丽	女 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
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IN PREPARATION&lt;br /&gt;
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专业班级名称	学号	 姓  名	性别&lt;br /&gt;
==语言智能与跨文化传播研究	202120081535	徐敏赟	男==&lt;br /&gt;
This is the homework of 徐敏赟.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:41, 26 September 2021 (UTC)&lt;br /&gt;
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清初时期的汉籍（书）翻译及其文化沟通意涵&lt;br /&gt;
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摘要：清初之际，统治者虽以武力立国，但社会的主导意识形态尚未形成，国家的“治统”与“道统”尚未确立。为了匡扶社稷，教化臣民，探求君主治术，建构符合国家需求的集体价值观，统治者积极组织汉书翻译，促进文化交流，增进民族和解。&lt;br /&gt;
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The Translation of Chinese Books in the Early Qing Dynasty and its Cultural Communication Implications&lt;br /&gt;
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Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social  ideology has not yet been formed. Besides, the country's &amp;quot;ruling&amp;quot; and &amp;quot;moral  orthodox&amp;quot; have not yet been established either. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.&lt;br /&gt;
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The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication&lt;br /&gt;
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Abstract: At the beginning of Qing Dynasty, the ruler established the country by force, but the dominant social  ideology has not yet been formed. Besides, the country's &amp;quot;governance&amp;quot; and &amp;quot;moral  orthodoxy&amp;quot; have not yet been established neither. In order to help the community, educate the people, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Chinese books actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Root|Root]] ([[User talk:Root|talk]]) 12:44, 29 September 2021 (UTC)&lt;br /&gt;
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The Translation of the Han Classics in Early Qing Dynasty and its Implications for Cultural Communication&lt;br /&gt;
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Abstract: At the beginning of the Qing Dynasty, the ruler established the country by force, but the dominant social ideology has not yet been formed. Besides, the country's &amp;quot;governance&amp;quot; and &amp;quot;moral  orthodox&amp;quot; have not yet been established either. In order to rectify and sustain the society, educate the subjects, explore the rules of the monarchy, and construct collective values that meet the needs of the country, the ruler organized the translation of Han Classics actively, which helped promote cultural exchanges and enhance national reconciliation.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:31, 8 October 2021 (UTC)&lt;br /&gt;
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==语言智能与跨文化传播研究	202120081536	颜静	女==&lt;br /&gt;
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作为清初文化事业的重要组成部分，汉书翻译有着明确的选择标准，实用主义色彩浓厚，主要关注汉族的文治教化与典章制度，将翻译与政要相关联，反对浮华藻饰的翻译。组织上，汉书翻译以官方为主，以民间为辅，译书者既有兼通满、汉双语之旗人，又有八旗科举考试之及第者，这些人既是文化交流的管理者，又是实践者，代表了统治阶级意欲沟通满汉的主观愿望。成效上，汉书翻译不仅促进了新生政权的制度建设，而且为统治者建构政权合法性做出了贡献。&lt;br /&gt;
As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one. Organizationally,Han Shu was translated mainly by officials, and then public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to communicate the Manchu and Han people. In effect, the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.&lt;br /&gt;
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As an important part of cutural undertakings in early Qing dynasty, the translation of Han Shu had clear selection criteria and strong pragmatism. It (mainly) focused on cultural education and institutions of Han nationality, associated the translation with politics and opposed flashly one(embellishments). Organizationally,Han Shu was translated mainly by officials, and then (by) public people. The translators contained not only the Eight Banners' People who mastered both Manchu and Chinese language, but also those who passed the Eight Banners imperial examination. These people were administrators of cultural exchanges, and also practicers, representing that the ruling class was willing to (intended to) communicate the Manchu and Han people. In effect(As a result), the translating of Han Shu promoted the institutional construction of new regime, and also contributed to the rulers for constructing the regime legitimacy.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:06, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081484	杜莉娜	女==&lt;br /&gt;
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导论：凡国家之建立，必有立国精神和主导意识形态，以及相应之文化政策。&lt;br /&gt;
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早在天聪年间，清太宗便为新政权提出文武并用的战略构想，既强调以武功勘祸乱，又主张以文教佐太平，提出了文化统制与文化建设的独到见解。顺治十年，世祖章皇帝订定崇儒重道之政策，并以此为基础构建了兴文教、崇经术的治国理念。&lt;br /&gt;
Introduction: The establishment of any countries must need the national spirit ,dominant ideology and  appropriate cultural policies.&lt;br /&gt;
As early as the year of Tiancong, Hong Taiji put forward the strategy of combining education and force for the new regime. He emphasized to calm down the chaos by force and to keep the peace by civilian. And he came up with unique insights into cultural unification and cultural development as well. During the first decade of Shunzhi, the emperor made the policies of respecting Confucianism and Taoism, and from this the concepts of governing like prospering education and worshipping scriptures were built.&lt;br /&gt;
--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 16:07, 28 September 2021 (UTC)&lt;br /&gt;
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1、“文武并用”应该更侧重于“文化”，译为culture；&lt;br /&gt;
2、“以文教佐太平”中的文教可译为cultural education；&lt;br /&gt;
3、“and from this the concepts of governing like prospering education and worshipping scriptures were built.”此句可用定从，which served as a basis of …&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:25, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081490	胡舒情	女==&lt;br /&gt;
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自此以后，虽然清代历朝统治者在关注满、汉文化交流时，不免对汉人进行打压，但也同时对汉族文化进行宣扬与推广。&lt;br /&gt;
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清初统治者在构建“治统”与“道统”的过程中，围绕“崇儒重道”，衍生出众多文化政策实举，如科举取士、博学鸿词等，而汉籍经史的翻译与编纂也是其中重要内容。汉籍翻译是清代文化事业的重要组成部分，是清代民族关系与文化政策的重要载体，它和满清政权的其它文化活动一样，在功能上相互关联，彼此补充，为促进民族之间的相互了解，维护王朝体系的稳定发展，做出了重要贡献。&lt;br /&gt;
Since then, although all the dominators of Qing dynasty would squash the Han people when focusing on cultural exchange between Manchu and Han, they also propagated and promoted the Han culture at the same time. The dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism” during the progress of constructing Monarchism and statesmanship, which included imperial examinations, erudite and an important part - compilation and translation of Han classics and history. Its translation formed Qing’s cultural undertakings as necessary parts and served as a carrier of Qing’s ethnic relations and cultural policies. It was the same as other cultural activities of Qing dynasty. They related to and complemented each other, which made a contribution to promoting mutual understanding among peoples and maintaining the stable development of the dynastic system.&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:26, 30 September 2021 (UTC)&lt;br /&gt;
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Since then when it comes to Man and Han culture communication, all the dominants of Qing dynasty would freeze Han people but also promoted their culture at the same time.&lt;br /&gt;
During the process of constructing Monarchism and statesmanship, the dominators of early Qing dynasty implemented numerous cultural policies around the idea of “respecting and emphasizing Confucianism”,which included imperial examinations, erudite etc. and also compilation and translation of Han classics and history as an important content. Translating Han classic is an important part of Qing culture and the critical carrier of its ethnic relationship and cultural policies. Like other cultural activities it related to each other functionally and made great contributions to ethnic communication and the solid development of Qing dynasty.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:18, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081491	黄锦云	女==&lt;br /&gt;
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作为汉籍翻译的管理者和实践者，译者们承担了沟通满、汉文化的历史使命，其所翻译的汉族书籍不仅有效增进了旗人对于汉文化的了解，而且为新生政权进行制度建设，以及合法性的建构发挥了历史性作用。&lt;br /&gt;
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一 满洲前身时期的汉籍翻译&lt;br /&gt;
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满洲的前身系女真，语言文字上属阿尔泰语系。&lt;br /&gt;
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As the manager and practicer of translating Han's books, translators take charge of the historial mission to combine Manchu cultrue and Han cultrue.  Their translations not only enhance the Bannermen to know Han cultrue, but also play a historical role in forming a new regime and conlidating its validity.--Translation of Han's books before Manchu period&lt;br /&gt;
Manchurians originates from Nvzhen race, and their language and character belongs to Altaic languages.&lt;br /&gt;
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As managers and practitioners of translation of Han's books, the translators undertake the historical mission of cultural communication between the Manchu nationality and the Han nationality. Their translations of Han's books not only efficiently improve the Manchu's understanding of Han culture, but also play a historical role in system construction for new regime and legal construction. &lt;br /&gt;
-- Translation of Han's books before the Manchu period&lt;br /&gt;
Manchurians originate from Nvzhen race, and their language belongs to Altaic language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:11, 9 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081495	邝艳丽	女==&lt;br /&gt;
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满族和历史上的女真族一样，原本没有自己的语言，记事时需要借用其他民族文字。《金史》中说：“初无文字，国势日强，与邻国交好，迺用契丹字。”[ 杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。] 金朝立国后，初期的内、外公文几乎都用契丹文书写，金太祖本人也擅长契丹语。&lt;br /&gt;
As Jurchen in the history, the Manchu nationality did not have its own language, and they needed to use other national characters when making a memorandum. &amp;quot;The Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters&amp;quot; said in ''The History of Jin Dynasty''[Yang Jialuo: ''The History of Jin Dynasty'',Taipei: Dingwen Publishing House, 1985, p.16884] After Jin Dynasty was established, the official documents inside and outside the court were nearly written with Khitan characters, even the Emperor Taizu of Jin Dynasty was skilled in using Khitan language.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Li Aixuan|talk]])09:41, 29 September 2021 (UTC)&lt;br /&gt;
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As Jurchen in the history, the Manchu nationality did not have its own language. Therefore, keeping a record of events depended on the characters of other nation. Said in The History of Jin Dynasty, &amp;quot;the Jin dynasty did not have their own characters, but with its increasing development and its need to deal with the relation with neighbouring country, then used Khitan characters&amp;quot;. [Yang Jialuo: The History of Jin Dynasty,Taipei: Dingwen Publishing House, 1985, p.16884] After the establishment of Jin Dynasty, the official documents at home and abroad were nearly written in  Khitan characters, even the Emperor Taizu of Jin was skilled in using Khitan characters.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 13:34, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081496	李爱璇	女==&lt;br /&gt;
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然而，契丹语与金人女真语差距较大，因而金太祖命完颜希尹、叶鲁依据汉人楷字，并参照契丹字制度，创制适合本族的语言文字“女直文”。天辅（金太祖年号）三年，女直文依诏令颁行，称“女直大字”。二十年后，即1138年，金熙宗完颜亶又命人参照契丹字，创制并颁布另一种女直文字，即“女直小字”。&lt;br /&gt;
However, there was a huge gap between the Khitan language and the Jurchen language. Therefore, the Emperor Taizu of Jin ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own people, Jurchen script, based on the Han regular script and referring to the Khitan script system. In the third year of the period of Tianfu (the reign title of Emperor Taizu of Jin), according to the edict, the Jurchen script was enacted as &amp;quot;Jurchen Large Script&amp;quot;. In 1138, twenty years later, Wanyan Dan, the Emperor of Xizong, ordered someone to create and enact another kind of Jurchen script, namely &amp;quot;Jurchen Little Script&amp;quot;, referring to the Khitan script system.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:15, 29 September 2021 (UTC)&lt;br /&gt;
However, there was a big gap between Khitan language and Jin Nuzhen language. Therefore, Jin Taizu ordered Wanyan Xiyin and Ye Lu to create a language suitable for their own nationality &amp;quot;Jurchen script&amp;quot;, according to the regular script of Han people and with reference to the Khitan character system. In the third year of Tianfu (the year of emperor Taizu of Jin Dynasty), Jurchen script was issued in accordance with the imperial edict, known as &amp;quot;Jurchen Large Script&amp;quot;. Twenty years later, in 1138, Jin Xizong,  Wanyan Dan ordered people to create and promulgate another Jurchen script, namely “Jurchen Little Script&amp;quot;, according to the Khitan character.— Li Xichang&lt;br /&gt;
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==英语语言文学（语言学）	202120081502	李习长	男==&lt;br /&gt;
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金世宗继位后，在推动女直文字的使用上，力度更大，举措更丰。如大定（金世宗年号）四年，金世宗令翰林侍讲学士徒单子温等用女直大、小字，翻译经书。女直文字的创制，对金朝翻译汉书影响巨大，而汉书翻译又影响了金朝的政治制度与国家治理。&lt;br /&gt;
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After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of Jin Shizong), Jin Shizong ordered the Imperial College to teach the bachelor's Apprentice Shan Ziwen to translate scriptures in large and small characters. The creation of nvzhi characters had a great impact on the translation of Chinese books in the Jin Dynasty, which in turn affected the political system and national governance of the Jin Dynasty.&lt;br /&gt;
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After Jin Shizong succeeded to the throne, he made greater efforts and took more measures to promote the use of nvzhi characters. For example, in the fourth year of Dading (the year of the region of emperor Jin Shizong), he ordered his disciple Shan Ziwen and other Shijiang academicians of Hanlin to translate Confucian Classics in Jurchen large and small scripts. the creation of Jurchen script had a great impact on the translation of Chinese books in the Jin Dynasty, and that, in turn, the Chinese books  affected the political system and national governance of the Jin Dynasty.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 03:39, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081519	邱婷婷	女==&lt;br /&gt;
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如大定五年，金世宗命徒单镒翻译《贞观政要》和《白氏策林》等书，次年徒单子温将译本进呈皇帝。大定七年，《史记》和《西汉书》等翻译成书，金世宗敕令刊刻颁行。大定十五年，金世宗再令翻译各部经书，由温迪罕缔达（著作佐郎）、宗璧（编修官）、阿鲁（尚书省译史）、杨克忠（史部令史）等负责对译本进行注解。&lt;br /&gt;
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For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate The Political Program of Zhen Guan and Bai Shi Ce Lin, etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. In the seventh year of Dading, the Records of  the Grand Historian and the book of the Western Han Dynasty were translated into books, which were printed and issued by the royal decree of emperor Shizong. What’s more, he released an order again translating several Confucian classics which were annotated by Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.&lt;br /&gt;
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Annotation:&lt;br /&gt;
1.Zhu Zuolang: A person whose responsibility is to compile historical works.&lt;br /&gt;
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.&lt;br /&gt;
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.—[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 16:58, 28 September 2021 (UTC)&lt;br /&gt;
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For example, in the fifth year of Dading (the year of the region of emperor Jin Shizong), the emperor ordered his disciple Shan Yi to translate ''The Political Program of Zhen Guan'' and ''Bai Shi Ce Lin'', etc. Then emperor Shizong received the translations submitted by another disciple named Shan Ziwen in the next year. One year later,''the Records of  the Grand Historian'' and ''the book of the Western Han Dynasty'' were translated into books, which were printed and issued under the royal decree of emperor Shizong. What’s more, he released an order again translating various kinds of Confucian classics, and put Wendihan Dida （assistant of Zhu Zuolang）， Zong Bi（ BianxiuOfficer), A Lu( translator of history of Department of State Affairs ), Yang Kezhong( Lingshi of the Ministry of Official Personnel Affairs ) etc.in chagrge of the annotation of the translations of these books.&lt;br /&gt;
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Annotation:&lt;br /&gt;
1.Zhu Zuolang: A person whose responsibility is to compile historical works.&lt;br /&gt;
2.Bianxiu: The official name, first placed in the Song Dynasty, is mainly responsible for the revision and compilation of documents.&lt;br /&gt;
3.Lingshi: Official name; the general name of petty officials in the government since the song and Yuan Dynasties.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:00, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081520	饶金盈	女==&lt;br /&gt;
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金世宗在位期间，朝廷设立译经所，专司汉文经史的翻译。期间，所译汉书除上述几种之外，另有《易》、《书》、《论语》、《老子》、《孟子》、《扬子》、《文中子》、《刘子》以及《新唐书》等。之所以翻译这些书籍，是因为金世宗希望女直人了解汉人的仁义道德，以利于治国安邦。&lt;br /&gt;
During the reign of Wan Yanyong, the fifth emperor of the Jin Dynasty, the imperial court set up a sutra translation office to specialize in the translation of scriptures and historical materials written in classical Chinese. Meantime, in addition to the above-mentioned Chinese books, there were also ''Yi'', ''Shu'', ''the Analects of Confucius'', ''the Laozi'', ''the Mencius'', ''the Yangzi'', ''the Wenzhongzi'', ''the Liuzi'' and ''the New Book of Tang Dynasty''. The reason why these books were translated was that Wan Yanyong hoped that the Jurchen people would get some knowledge of the humanity, justice, and morality of Han people by reading these books, so as to develop a prosperous and stable country.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:05, 28 September 2021 (UTC)&lt;br /&gt;
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During the reign of Emperor Jin Shizong,the imperial court set up a classics translation office concentrating on the translation of Chinese classics. During this period,apart from translating the above-mentioned Chinese classics, they also translated &amp;quot; Yi&amp;quot;, &amp;quot;Shu&amp;quot;, &amp;quot;the Analects of Confucius&amp;quot;, &amp;quot;Laozi&amp;quot;, &amp;quot;Mencius&amp;quot;, &amp;quot;Yangzi&amp;quot;, &amp;quot;Wenzhongzi&amp;quot;, &amp;quot;Liuzi&amp;quot; and &amp;quot;New Book of Tang&amp;quot;, etc. The reason why Jin Shizong chose these classics was that he hoped that Nuzhi people could know the virtue and morality of Chinese by reading these classics. And then he could rule the nation better and build a stable society. -- Yang Aijiang (talk) 21.57. 11 October 2021&lt;br /&gt;
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==英语语言文学（语言学）	202120081541	杨爱江	女==&lt;br /&gt;
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然而，当时的女直字与汉字不能直接对译，中间需要经过转译为契丹字。为解决这一问题，金章宗在位期间，诏设弘文院，命人译写儒家经典并讲解。旋即，又废止契丹字，要求嗣后汉文典籍直接译为女直字，以省去须经契丹字转译的中间环节。&lt;br /&gt;
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However, it was not feasible to translate Nvzhi characters into Chinese characters at that time. And it needed to be translated into Khitan characters first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Besides, Jin Zhangzong abolished its use of Khitan characters and demanded that the Chinese classics should be translated in Nvzhi characters directly, omitting taking advantage of the translation of Khitan characters as a bridge.&lt;br /&gt;
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However,  Nvzhi characters could not be directly translated into Chinese  without being rendered into Khitan ones first. During the reign of Emperor Jin Zhangzong, he set up Hongwen Academy and commanded his ministers to translate and explain Confucian classics in order to figure out the language problem. Soon after, Jin Zhangzong abolished the use of Khitan characters and demanded that the Chinese classics should be translated into Nvzhi characters directly, avoiding the intermediate step of using Khitan characters.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 13:37, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081547	殷美达	女==&lt;br /&gt;
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金朝政权覆灭之后，虽然留居东北故地的少数女直上层人士尚能娴习女直文，但女直字作为一种语言逐渐失传。明朝政府设置“四夷馆”后，又延人专习女直字，以应付中央与地方政府，或中央与藩属地之间的通译需要。虽然如此，女直语的凋落已成定势。&lt;br /&gt;
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二 太祖时期汉籍（书）翻译之“始”&lt;br /&gt;
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After the collapse of Jin Dynasty, a small number of upper class Nuzhen people who still lived in northeastern China were proficient in Nuzhen language, but its words were being lost gradually. The Ming Dynasty, when setting up &amp;quot;Si Yi Academy &amp;quot;, hired particular people to study Nuzhen language to meet the needs of communication and translation between the central and local governments or its dependent territories. Nevertheless, the decline of Nuzhen language had become a foregone conclusion. &lt;br /&gt;
Second, the initial translation of Chinese books in the Emperor Taizu period&lt;br /&gt;
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After the collapse of the Jin Dynasty, although a small number of Nuzhen upper class people living in Northeast China were very proficient in Nuzhen language, Nuzhen characters have been gradually lost. Having set up the Si-yi-guan, the Ming Dynasty hired people to specially learn Nuzhen characters to meet the needs of translation between the central government and local governments or its affiliated places. Nevertheless, the decline of Nuzhen language is inevitable.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 01:18, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081557	周巧	女==&lt;br /&gt;
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明朝万历年间，努尔哈赤率部崛起之时，作为女直后裔的满族并无文字。那时，文移往来必须靠蒙古语的学习与翻译才能完成。为满足文移往来，记注政事的需要，并解决“今我国之语，必译为蒙古语读之，则未习蒙古语者，不能知也”的问题，清太祖努尔哈赤于明万历二十七年，命额尔德尼、噶（gá）盖等改制国书（即，国家的语言文字），以改变满人说女真语却写蒙古字的尴尬局面。[ 明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。]&lt;br /&gt;
In the wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, as a straight descendant of Jurchen, it had no written words. At that time, the exchange of letters had to rely on Mongolian learning and translation to complete. For recording the  political affairs and solving  the problem that &amp;quot;Nowadays, the language of our country have to be translated into Mongolian to read, otherwise  people can’t understand it without the learning of it. In the wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which is to change the embarrassing situation of Manchu speaking Jurchen language while writing Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.&lt;br /&gt;
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During the Wanli period of Ming Dynasty, when Nurhachi led the rise of the Manchu, the Manchu, as the straight descendant of Jurchen, had no written words . At that time, the exchange of letters had to rely on Mongolian learning and translation. In order to meet the need of exchange of letters, recording and annotating the  political affairs as well as solving  the problem that &amp;quot;Nowadays, the language of our country have to be translated into Mongolian to read, and the people who do not learn Mobolian can't understand it.&amp;quot;, in the Wanli 27 years of Ming Dynasty, Emperor Nurhachi（the first founder of Ming Dynasty） ordered Erdeni, Gagai and etc to reform credentials (namely the national language), which aimed to change the embarrassing situation that Manchu speaking Jurchen language while writing in Mongolian. Beijing: Zhonghua Book Company, 1986, p. 2.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:16, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（语言学）	202120081561	朱素珍	女==&lt;br /&gt;
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自此，满洲的语言和文字渐趋一致。然而问题在于，此时创制的满洲语言（老满文）系参照畏兀儿体老蒙文字母，而蒙古与女真语音原本存在差异，借用的蒙文字母未必能充分传达女真语言的意义。如太宗皇太极在评价老满文时所说，“书中寻常语言，视其文义，易于通晓”，但“至于人名、地名，必致错误。”[ 中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。]&lt;br /&gt;
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From then on, the languange and the forms in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there exist original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: &amp;quot;You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt.&amp;quot;     (Translated by The First Historical Archives of China and Institute of Chinese Social History :''Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) &lt;br /&gt;
   Annotation:&lt;br /&gt;
   1. Jurchen: an ancient nationality in China&lt;br /&gt;
   2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters&lt;br /&gt;
   3. Old Manchu:the language used by ancient Machurian&lt;br /&gt;
   4. Manchurian: the founder of Qing Dynasty&lt;br /&gt;
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From then on, the languange and the characters in Manchurian language are gradually consistant. However, the problem is that the Manchurian language(Old Manchu) was created with the guidance of Uighur Old Mongolia alphabets, and there existed original difference between Mongolia and Jurchen pronunciation. Therefore, the borrowed Mongolian alphabets could not explicitly express the true meaning of Jurchen language. Just as what the great emperor Taizong Hoang Taiji said when he evaluated Old Manchu: &amp;quot;You can easily understand the meaning of the ordinary language in a book written in Old Manchu. However, in terms of the name of people and places, the Old Manchu would lead you to misunderstanding without any doubt.&amp;quot; (Translated by The First Historical Archives of China and Institute of Chinese Social History :“Manchu Old File'',Peking:Zhonghua Book Company,1990, page 1196.) --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 05:10, 3 October 2021 (UTC)Chen Huini&lt;br /&gt;
   Annotation:&lt;br /&gt;
   1. Jurchen: an ancient nationality in China&lt;br /&gt;
   2.Uighur(畏兀儿体/古维吾尔语): the earliest Mongolian Chinese characters&lt;br /&gt;
   3. Old Manchu:the language used by ancient Machurian&lt;br /&gt;
   4. Manchurian: the founder of Qing Dynasty&lt;br /&gt;
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==英语语言文学（英美文学）	202120081479	陈惠妮	女==&lt;br /&gt;
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为此，皇太极命“巴克什”达海对老满文加以改进，使其音、义明晓，有助于学习，形成了所谓“新满文”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。]文字虽已形成，但满人一时间几乎无书可读，原因有二：其一，此时的满文尚属草创，旗人尚不能以满语编纂书籍；其二，汉字书籍的获取极为不易。&lt;br /&gt;
面对上述情况，太祖努尔哈赤敕令在旗人中延请师傅，教子弟读书，并令达海等人以满文翻译汉文典籍。&lt;br /&gt;
Therefore, the King asked Baks Dahai to develop the Old Manchu to make its sound and meaning more clear, which maked it easier to learn. It is in this way that the so-called New Manchu was formed. [E'ertai et al. Fengxiu: &amp;quot;Records of the Qing Dynasty·Records of Emperor Taizongwen&amp;quot;, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been developed, the Manchu can hardly find bookes to read for two reasons. One is that the Manchu language at that time is still an initial creation. The other is that it's so hard to get the books in Chineses charaters.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics in Manchu. --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:59, 29 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Therefore, Huang Taiji (an emperor of Qing Dynasty) instructed &amp;quot;Bakshi (a title of a scholar of Qing Dynasty)&amp;quot; Da Hai to develop the Old Manchu to the so-called &amp;quot;New Manchu&amp;quot;, which made the sound and meaning more clear and then make it easier to learn. [E'ertai et al.: Factual Record of Qing Dynasty·Factual Records of Emperor Taizongwen, Beijing: Zhonghua Book Company, 1985, p. 13. ] Although the characters and words have been formed, the Manchu for a time almost no books to read for two reasons. One is that the Manchu language at that time was still an initial creation, and the Bannermen couldn't compile with it. The other was that the acquisition of books in Chineses charaters was extremely hard.On the face of this situation, Taizu Nurha Chi invited masters among the bannermen to teach children to read, and ordered Dahai and others to translate Chinese classics into Manchu.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 10:16, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081482	程杨	女==&lt;br /&gt;
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《清史列传》中对此的记载如下：弱冠，太祖高皇帝召直文馆，凡国家与明及蒙古、朝鲜词命，悉出其手。有诏旨应兼汉文者，亦承命传宣，悉当上意。旋奉命译《明会典》及《素书》、《三略》。[ 王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。]&lt;br /&gt;
The records of Da Hai in ''the Biographies of the Qing Dynasty'' as follows: at the age of twenty, he was called into the imperial palace and served in Wen Guan (the bureaucratic ministry for translating Chinese books in the early Qing Dynasty). The naming of new words that related to the Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Chainese-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''(written in Qing Dynasty), and ''San Lue''(written by Huang Shigong).[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 03:52, 29 September 2021 (UTC)&lt;br /&gt;
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The records of Da Hai in ''the Biographies of Qing Dynasty'' as follows: at the age of twenty, he was appointed by Nurhachi①as a translator in Wen Guan②. The naming of new words that related to Ming Dynasty, Mongolia and North Korea were all by him to complete. He was also instructed to convey some of the Han's language-related orders totally reflecting the will of the emperor. Soon, he was asked to translate ''the Code of Ming Dynasty'', ''Su Shu''③, and ''San Lue''④.[''The Biographies of the Qing Dynasty'', edited by Wang Zhonghan, Zhong Hua Book Company, 1987, pp.187.&lt;br /&gt;
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Annotation:①Nurhachi:the founder of Qing Dynasty, 1559–1626. ②Wen Guan: the bureaucratic ministry for translating Chinese books in the early Qing Dynasty. ③''Su Shu'': moral principles written in Western Han Dynasty by Huang Shigong. ④''San Lue'':military monograph written in Western Han Dynasty by Huang Shigong.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:10, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081483	丁旋	女==&lt;br /&gt;
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上文中所谓《明会典》，又称《大明会典》，系明代典章制度史书，内容涉及汉族文教、历法、习俗等。与《明会典》不同，《素书》成书于西汉，并非典章著作，而是哲理之学，道家思想的智慧之作。《三略》又名《黄石公三略》，既是军事战略专论，又糅合了诸子百家思想。&lt;br /&gt;
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering Education of Han②, the Chinese calendar, and custom and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a wisdom work full of philosophy and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought. &lt;br /&gt;
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Annotation: &lt;br /&gt;
①''Code of Ming Dynasty'': One code about Ming’s laws and regulations in many aspects started to write in 1393 and finished in 1578.&lt;br /&gt;
②Education of Han: The education policy initiated by emperors of Ming Dynasty in order to transmit Confucianism thoughts and consolidate their reign.&lt;br /&gt;
③''Su Shu'': It is one book full of principles and truth written by Huang Shigong in the western Han Dynasty. It is used for the reign of country because of its instructive and moral function.&lt;br /&gt;
④''Sun-Lue'': It is one famous ancient military book including three parts written by Huang Shigong in the Western Han Dynasty. The military thoughts in it are critically useful and different from others because it discusses military strategies from political perspective.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 06:43, 29 September 2021 (UTC)&lt;br /&gt;
''Code of Ming Dynasty''① mentioned above, also known as ''Code of Great Ming Dynasty'', is one historical book about laws and regulations in the Ming Dynasty, covering the range of Education of Han②, the Chinese calendar, and customs and so on. Different from Code of Ming Dynasty, ''Su Shu''③ written in the Western Han Dynasty is a work full of philosophical wisdom and Taoism rather than law and regulations. ''Sun-Lue''④, also called Sun-Lue of Huang Shigong, is not only a military strategy monograph but a mixture of the hundred schools of thought.&lt;br /&gt;
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==英语语言文学（英美文学）	202120081485	付红岩	女==&lt;br /&gt;
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以上三者皆是重要的汉文典籍，清太祖令达海翻译它们，开启了清代翻译汉籍（书）之先河，其政治策略上的深刻用意不言而喻。&lt;br /&gt;
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三 太宗时期汉籍（书）翻译之“兴”&lt;br /&gt;
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太宗皇太极即位后，为鼓励旗人读书，多措并举：一方面，要求“十五岁以下，八岁以上者，俱令读书”，惩处不愿教子读书者；另一方面，为改善“无书可读”的情况，又致函朝鲜，索求汉文典籍。&lt;br /&gt;
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Since the three ancient books just mentioned above were all significant Chinese classics, Nurhaci, the Emperor in Qing Dynasty requested Dahai, the official should translate the classics into the mongolian, whose profound meaning in the aspect of political layout was very explicit.&lt;br /&gt;
Third, the interest of translating Chinese classics has reached its climax during the power of Nurhaci.&lt;br /&gt;
After NUrhaci’s coming into the power, many decrees has been enacted in attempt to encourage the people to read. On the one hand, the teenagers between 8 and 15 were allowed to read. In addition , the parents who were reluctant to support their offspring to read would be punished. On the other hand, Qing Dynasty sent a letter to Korea, in which the former asked the later to denote more Chinese classics in order to improve the predicament that the books were not enough to read.&lt;br /&gt;
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批改：译者译文总体流畅，对原文理解总体得当。以下为细节处理上的建议 &lt;br /&gt;
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1.“清太祖”一词为中国专有名词，应先查后译。清太祖指的是努尔哈赤（1616-1626），是后金第一位大汗，清朝的奠基者，太祖在位时，“大清国”还没有定鼎中原，故此时的“清”并不能算是中国的一个朝代。译者将其处理为“the Emperor in Qing Dynasty”不够严谨。&lt;br /&gt;
建议改为：Nurhaci, the Founder of Qing Dynasty&lt;br /&gt;
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2.“三 太宗时期汉籍（书）翻译之‘兴’”此处为论文小标题，首先，应当注意标题格式。结构上，原文为名词短语，译者翻译时使用英语句子的SVO（A）结构，虽然意思完整，但失去了原文的简洁。&lt;br /&gt;
词语上，“兴”强调翻译之风的兴起、盛行，译者将其处理为“reached its climax”缺乏严谨性，太宗时期不一定是汉籍翻译的高潮时期。&lt;br /&gt;
建议改为：Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci&lt;br /&gt;
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3.“十五岁以下，八岁以上者，俱令读书”&lt;br /&gt;
词语上，“令”是主动要求的意思，译者将其处理为“be allowed”，即被允许读书的可能性，读与不读似乎都是可以接受的。结合后文“惩处不愿教子读书者”，说明“令”是强制的。“be allowed”不能精准传达出原文清政府对旗人读书的鼓励与强制性。&lt;br /&gt;
结构上，原句省略了主语（清政府），原意为：清政府要求十五岁以下，八岁以上的人都得读书。译者将主动结构改为了被动结构，突出强调了实施对象。&lt;br /&gt;
建议改为：The teenagers between 8 and 15 were asked to read.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:20, 29 September 2021 (UTC)&lt;br /&gt;
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All the above three were important Han classics, so Nurhaci, the founder of Qing Dynasty, commanded Dahai to translate them into Manchu language, which opened the floodgates to the large-scale translations of Han classics and its profound political meaning was explicit.&lt;br /&gt;
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Third The Prosperity of Chinese Classics Translation During the Power of Nurhaci&lt;br /&gt;
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After Abahai, the son of Nurhaci, coming into power, many decrees has been issued to encourage people to read and study. On the one hand, hand, teenagers between 8 and 15 were asked to study, and their parents would be punished if they were unwilling to educate their children; On the other hand, in order to avoid the scarcity of Han classics, Qing Dynasty sent a written request to Korea for a generous lending.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:43, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081497	李瑞洋	女==&lt;br /&gt;
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《朝鲜王朝实录·仁祖实录》中写道：“闻贵国有金、元所译《书》、《诗》等经及《四书》，敬求一览，惟冀慨然。”[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。]可见，皇太极此时想要借阅的并非汉文原书，而是汉籍的金、元译本，即女真语和蒙古文译本。对此，朝鲜政府方面虽然进行了回应，但态度并不热忱：见索《诗》、《书》、《四书》等书籍，此意甚善，深嘉贵国尊信圣贤，慕悦礼义之盛意。&lt;br /&gt;
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As mentioned in ''King Injo the Great'', one of the volumes in ''Annals of the Korean Dynasty'' “We heard your country have ''the Four Books'' and other classics including ''The Book of Poetry'' and T''he Book of History'', which were translated in Jin Dynasty and Yuan Dynasty, so we sincerely hope your generous lending of these books.” [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973,P38] Obviously, at this time what Huang Taiji wanted to borrow was not the original Chinese book, but the Jin and Yuan translations, namely the Jurchen and Mongolian versions. Although Korean officials responded to this request, they were not very willing: It is very nice of you to ask for the Four Books and other classics including ''The Book of Poetry'' and ''The Book of History'', and we really appreciate your country’s popularity of respecting men of virtue and advocating courtesy and justice.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 02:19, 29 September 2021 (UTC)&lt;br /&gt;
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It was recorded in ''King Injo the Great'', a volume of ''Annals of the Korean Dynasty'', that “We have heard your country have classics like ''The Book of Songs'', ''The Book of History'' and ''the Four Books'' , which were translated in Jin and Yuan Dynasties, so we sincerely hope for your generous lending of these books to us.”  [National History Compilation Committee: ''Annals of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 38.]&lt;br /&gt;
Obviously, what Huang Taiji wanted to borrow at that time were not the original Chinese books, but the translated versions of Jin and Yuan periods, namely the Jurchen and Mongolian versions. Although Korean officials respondedt, they didn't give a active response: It is glad to receive your borrowing request of these books, and we do appreciate your country’s deeds of respecting men of virtues and advocating courtesy and justice.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 01:28, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081498	李姗	女==&lt;br /&gt;
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第国中所有，只是天下通行本，而金、元所译，则曾未得见，兹未能奉副，无任愧歉。[ 国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。]&lt;br /&gt;
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由于未能索得属意书籍，皇太极遂令达海继续翻译，后者于天聪六年开始翻译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》，以及《大乘经》等。只可惜，由于达海英年早逝，上述书籍未能译竟。&lt;br /&gt;
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The one that existed in the great empire was just a general version that circulated all over the country.（* But the one that existed in the whole country was just a general version.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)） As the translating versions of Jin and Yuan were not publicized yet, it's a pity that their works were not able to be offered to the emperor.（* However, the translated versions in Jing Dynasty and Yuan Dynasty hadn't published yet.It's a pity that their works were not able to be offered to the emperor.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC))  [National History Compilation Committee: ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, 63.]&lt;br /&gt;
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Failing to obtain desired translation versions,the first emperor of Qing dynasty, ordered Dahai to continue his translation work. And in the sixth year of Huangtaiji's rule (the year of 1632), Dahai began to translate ''History as a Mirror'', ''The Six Arts of War'', ''The Records of Three Kingdoms'' as well as  ''Mahayana Sutra'' and so forth. [* ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism) --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 02:37, 29 September 2021 (UTC)]  Unfortunately, the translation of these books was not finished as a result of Dahai's early death.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 12:46, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081500	李文璇	女==&lt;br /&gt;
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清初之际，达海被满洲“群推为圣人”，他翻译的汉文书籍对于拓展满族的知识范围，甚为关键。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。]《清实录·太宗文皇帝实录》中说：其平日所译汉书，有《刑部会典》、《素书》、《三略》、《万宝全书》俱成帙。（天聪六年）时方译《通鉴》、《六韬》、《孟子》、《三国志（通俗演义）》及《大乘经》，未竣而卒。&lt;br /&gt;
In the early Qing Dynasty, Dahai was regarded as a sage by the people of Manchuria. The Chinese books translated by him was significant for extending the knowledge. In the book ''Memoir of the Qing Dynasty'' for the Emperor Taizong, it recorded that the books Dahai had translated, including ''Records of Ministry of Punishment'', ''Su Shu'' ( a book about Taoism), ''San Lue'' ( a military book), ''Wan Bao Quan Shu'' ( a book about daily life), all of which had been compiled into volumes. In 1632, he translated ''Tong Jian'' ( a history book), ''Liu Tao'' ( a military book), ''Mencius''，''Records of the Three Kingdoms'' and ''Dacheng Jing'' ( a book about Buddhism). However, he died without finishing these books.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:26, 28 September 2021 (UTC)--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:38, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081501	李雯	女==&lt;br /&gt;
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初我国未深谙典故，诸事皆以意创行，达海始用满文，译历代史书，颁行国中，人尽通晓。惟我太祖天纵聪明，因心肇造，所行皆与古圣贤同符默契。达海与额尔德尼应运而生，实佐一代文明之治云。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。]&lt;br /&gt;
In the beginning, our country was not familiar with the ancient books and stories, so everything began by &amp;quot;thoughts&amp;quot;. Since Dai Hai began to use Man Character to translate historical books of the past dynasties and promulgated it in our country, it has become universal among public. Only my great Grandfather, gifted and wise, created from the heart, and acted in accordance with the ancient sages. So the Dai Hai and E Erdeni came into being following the tendecy, who help to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;The record of Emperor Taizong in Qing Danasty,Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 02:36, 29 September 2021 (UTC)&lt;br /&gt;
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In the beginning, our country established things at will without the study of ancient classics. They were not well-known to the public until Da Hai translated historical books of the past dynasties in Manchu and promulated them in the country. Only the Emperor Taizu, who founded the dynasty on his own way, was so gifted and wise that what he had done was exactly  accordance with the ancient sages.In reasponse to the call of the times, Da Hai and Erdeni came into being and helped to create this generation of civilization.[E ertai,ect compiling by order of the Emperor;''The Record of Emperor Taizong in Qing Danasty'',Beijing,Zhonghua Book Company,1985,Page 10.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:49, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081505	刘沛婷	女==&lt;br /&gt;
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如前所述，《明会典》、《素书》、《三略》等书的翻译始于太祖时期，但成书于天聪四年，其余书籍的翻译则为时稍晚。综观达海译书，既有《孟子》之类所谓“知正心、修身、齐家、治国”者，又有《素书》、《三略》和《六韬》等“益聪明智识，选练战攻的机权”者，以及《通鉴》等“知古来兴废事迹”者，他的翻译“实佐一代文明之治”。&lt;br /&gt;
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以《刑部会典》（又称《明会典》）为例，达海译本既是天聪年间国家创制法律的依据，也是太宗推行政治改革的蓝本。&lt;br /&gt;
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As mentioned above, the translation of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began in the reign of Taizu but was completed in 1630. The other books were translated a little later. Da Hai's translations covered abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training and combat in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men knowing the rise and fall of ancient times in ''Comprehensive Mirror for Aid in Government''. Therefore, his translations did promote the rule of civilization.&lt;br /&gt;
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Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reforms carried out by Taizong.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 15:25, 28 September 2021 (UTC)&lt;br /&gt;
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As mentioned above, the translating of ''Code of Great Ming Dynasty'', ''Su Shu'' and ''Three Policies'' began during the reign of Taizu but was completed in 1630, the fourth year under the reign of Taizong. Other books were translated at a later time. Given that in Da Hai's translations exist abundant eminent men, such as those in ''Mencius'' who make their minds just, morality cultivated, families regulated and the country governed orderly, and those with extrodinary intelligence and knowledge of training the military in ''Su Shu'', ''Three Policies'' and ''Six Strategies'', as well as the men comprehending the ups and downs experienced by  dynasties in the past in ''Comprehensive Mirror for Aid in Government'', his translations did promote the governance under civilization.&lt;br /&gt;
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Taking ''Code of Ministry of Penalty'' (also called ''Code of Great Ming Dynasty'')as an example,Da Hai's translations were not only the basis for establishing laws during the period of Tiancong, but also the blueprint for the political reform carried out by Taizong.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 02:46, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081508	刘晓	女==&lt;br /&gt;
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太宗素有“振兴文治”的愿望，不仅创制了作为清代考试制度之滥觞的生员和举人考试，而且使巴克什、笔帖式制度臻于成熟，二者合力使得汉籍翻译的风气渐开：一方面，作为“巴克什”或“笔帖式”，希福、尼堪、刚林、苏开等人先后奉敕“（翻）译汉字书籍”或“记注国政”；另一方面，太宗以自古国家“以文教佐太平”为由，令满人争相读书，从生员中选取“文艺明通者优奖之”。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。]&lt;br /&gt;
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在对待前朝即明代的问题上，太宗采取“讲和”与“自固”并行的政策，但其本人向往中原汉族文化，所谓“性嗜典籍，披览弗卷”即是这一情况的体现。&lt;br /&gt;
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Holding the idea to &amp;quot;revitalize the administration by education and culture&amp;quot;, Taizong not only created examinations from which the examination system of Qing Dynasty originated, for xiucai and juren, those who have passed in the exam at the county and provincial level respectively, but also made the Baksh and Bithesi system reach a mature state. Together, the two measures  promoted the translation of books written in Chinese. On one hand, Xifu, Nikan, Ganglin and Su Kai, as  &amp;quot;Bakshs&amp;quot; or&amp;quot;Bithesis&amp;quot;, successively &amp;quot;translated  Chinese books&amp;quot; or &amp;quot;annotated state affairs&amp;quot; by the order of the emperor. On the other hand, by saying that countries applied the education and culture to safeguarding the stablization since ancient times, Taizong urged people to scramble to study, and then awarded those from xiucai &amp;quot;who mastered literature and arts&amp;quot;. (''Records of Qing Dynasty· Emperor Taizong'', edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)&lt;br /&gt;
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In dealing with the treatment of the previous dynasty, that is Ming Dynasty, Taizong adopted the policy of &amp;quot;settling a dispute&amp;quot; and &amp;quot;self-consolidation&amp;quot;. But he himself yearned for the Chinese culture of the Central Plains, which is embodied by the so called expression &amp;quot;Loving Chinese works and reading Buddha volumes.&amp;quot;&lt;br /&gt;
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Holding to the idea of &amp;quot;revitalizing the empire by education and cultural development&amp;quot;, Taizong not only established shengyuan and juren exams（exams at the county and provincial level perspectively） initiating the imperial examination system of Qing Dynasty, but also brought the Baksh and Bithesi system to a mature state. Together, the two measures brought about the upsurge in translation of Han books. On the one hand, Xifu, Nikan, Ganglin and Su Kai, as &amp;quot;Bakshs&amp;quot; or&amp;quot;Bithesis&amp;quot;, successively &amp;quot;translated Han books&amp;quot; or &amp;quot;annotated state affairs&amp;quot; by the order of the emperor. On the other hand, in the name of the national tradition of ensuring stabilization by education and cultural development, Taizong urged Man people to read and those shengyuan who stands out for their familiarity with literature and arts were awarded. (The Memoir of Qing Dynasty· Emperor Taizong, edited by Ertai, officials in the Qing Dynasty, Beijing: China Publishing House, 1985, P14.)&lt;br /&gt;
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In dealing with the treatment of the former dynasty, namely Ming Dynasty, Taizong resorted to the policy of “peace negotiation” and &amp;quot; self-consolidation&amp;quot; in parallel. However, Taizong himself yearned for the Central Plains culture of Han, and the expression “a voracious reader of Han and Buddhist classics” can properly manifests it. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 07:53, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081510	刘运心	女==&lt;br /&gt;
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于是，太宗诏令儒臣翻译汉书，并命金、汉之人阅读。[ 同上，第2页。]太宗深知，汉文典籍言微而义大，其精要者不仅涉及帝王治平之道，而且涉及正心、修身、齐家之理。但汉文典籍数量庞杂，翻译时必须有所选择。&lt;br /&gt;
Therefore, Taizong issued an order asking the civilian official to translate Han books and all the Han and Jin people are required read those. (Ibid., p.2) Taizong knew well how brief and profound Han classics were. Their essence not only involves the governess of the country and its people, but also discusses inner integrity, decent behavior and family harmony. Nevertheless, a great number and variety of Han classics means what to be translated needs selection.&lt;br /&gt;
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Therefore, Taizong ordered Confucian officials to translate Han books, while all the Han and Jin people were required to read those. (Ibid., p.2) Taizong knew well that Han classics were sublime works with deep meaning, whose essentials included not only the method of statecraft, but also self-cultivation and family regulation. Nevertheless, among a great number of Han classics, there must be an extraction.&lt;br /&gt;
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==英语语言文学（英美文学）	202120081511	罗安怡	女==&lt;br /&gt;
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如天聪六年九月，王文奎奏请从读书笔帖式内，选取“伶俐通文者”一、二人，并从秀才内选取“老成明察者”一、二人，令其“讲解翻写”。天聪九年三月二十一日，仇震向太宗谏言，要求从汉人中选取精通经、史者二、三人，并从金人中选取熟悉字法者三、四人，将各经史典籍及《通鉴》（即《资治通鉴》）中“有裨君道”的精要部分“集为一部”，日日讲解，以便统治者在翻译、日讲中学习汉族文化，以及治世之道。[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。]固然，对于汉文典籍与汉族文化，太宗并非全盘接受，而是辩证地加以吸收。&lt;br /&gt;
For instance, in September, 1632, the sixth year of  T'ien-ts'ung (the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty, advising that they should elect one or two &amp;quot;literates who were skilled at writing and translation&amp;quot; from the bithesi, and one or two  &amp;quot;scholars who were learned and perspicacious&amp;quot;, for &amp;quot;teaching, interpretation, and translation&amp;quot; of Han classics. On March 21st, 1635, the ninth year of  T’ien-ts'ung,  Chou Zhen advised Emperor Taizong to elect two or three Han people who were proficient in lections and  historical records, and three or four Jin people who were familiar with 字法. These scholars should choose essentials from classics and ''The Zizhi'' (''The Zizhi Tongjian'') , which benefits the ideas of ruling power of feudal emperors,  and compile them into one book. Also they should discourse the compiled thoughts frequently, in which the ruler could learn the Han culture and method of statecraft. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Of course, Taizong did accepted  Chinese classics and han culture critically and dialectically.&lt;br /&gt;
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For instance, in September, the sixth year of Tian Cong(the first reign title of Emperor Taizong of Qing Dynasty), Wang Wenkui wrote to His Majesty to pick up one or two who are &amp;quot;talented in literature” and pick up one or two who are &amp;quot;sophisticated and insightful&amp;quot;from the scholars for &amp;quot; interpretation, and translation&amp;quot; of Han classics. On March 21st, 1635, the ninth year of  T’ien-ts'ung,Qiu Zhen advised Emperor Taizong to pick up two or three Han people who were proficient in lections and  historical records, and three or four Jin people who were familiar with grammer to let them choose the essence which are benefical to the reign from classics and ''The Zizhi'' (''The Zizhi Tongjian'')   and compile them into one book.After that,they should illuminate the compiled thoughts every day, which is beneficial to the study of the ruler about the Han culture and ruling ways. [Zhenyu, Luo .(罗振玉),《天聪朝臣工奏议》，Beijing：China Renmin University Press, 1989, P24-25, P115.] Definitely speaking, Taizong did accepted  Chinese classics and han culture critically and dialectically.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:24, 29 September 2021 (UTC)(Luo Xi罗曦）&lt;br /&gt;
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==英语语言文学（英美文学）	202120081512	罗曦	女==&lt;br /&gt;
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如天聪九年五月，上谕文馆诸臣：朕观汉文史书，殊多饰辞，虽全览无益也。今宜于《辽》、《宋》、《金》、《元》四史内，择其勤于求治而国祚昌隆，或所行悖道而统绪废坠，与夫用兵行师之方略，以及佐理之忠良、乱国之奸佞，有关政要者，汇纂翻译成书，用备观览。至汉文正史之外，野史所载，如交战几合，逞施法术之语，皆系妄诞，此等书籍，传之国中，恐无知之人信以为真，当停其翻译。[ 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。]&lt;br /&gt;
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For instance，in May，the ninth year of Tian Cong，the emperor informed all the offcials in the cultural center that：I have read all those historical records in Han Dynasty filled with various ornaments，only to find that I have gotten nothing。Now you had better to pick up some references among &amp;lt;Liao&amp;gt;、&amp;lt;Song&amp;gt;、&amp;lt;Jin&amp;gt;、&amp;lt;Yuan&amp;gt; about some cases like dilligence making a prosperous country or idleness making a weak one,also,you can  pick up some military stratedies,and some information about those noble and talented citizens or traitors,and than you ought to translate all those relevence and compile them into a book prepared to be read.As for those unofficial history in Han excluded,like how many rounds did soldiers battle or the spell spoken by wizards,are all the nonsense,which will bewilder the ignorant,deserving to be prohibited from translation.{E Ertai：《清实录、太宗文皇帝实录》，Beijing：Chinese bookstore，1985，p9.}&lt;br /&gt;
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A modified version: For instance, in May 1653, the Emperor said to the ministers in Literature Institution(that is, the later Cabinet in Qing Dynasty), &amp;quot;I have leafed through the historical works in Chinese language with various ornamental rhetorics, but the complete reading of them is not beneficial. Now it is appropriate to select salient examples referred from the four historical recrods of ''Liao'', ''Song'', ''Jin'' and ''Yuan'', which will be compiled into books for later reading. These examples include those who were dedicated in governing the country thereby with a promising national development, or those who deviated from the correct path with weak administration, and the generals adept at warfare, loyal and honest servants assisting the sovereign to handle state affairs, the treacherous ones rendering the nation disorderly and chaotic as well as other relevant political workers. Meanwhile, apart from the official history, the unofficial historical works that record untrue events, like the conditions of battles, are all fabricated. If those unfavorable books are spread to the mainland, they may bewilder the ignorant and gullible individuals, thus deserving to be prohibited from translation. (E Eratai: ''Records of Qing Dynasty·Emperor Taizong'', Beijing: China Publishing House, 1985, Page9.)--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 04:47, 29 September 2021 (UTC)毛雅文&lt;br /&gt;
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==英语语言文学（英美文学）	202120081514	毛雅文	女==&lt;br /&gt;
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由上可知，在汉籍翻译的问题上，太宗讲求的是实用，希望将翻译与政要相关联，反对翻译浮华藻饰的汉文书籍，或者野史中所载不足为信者。以《刑部会典》的翻译为例，该译本的刊刻与颁行逐渐成为太宗朝的临政规范。《天聪朝臣工奏议》中说：“近奉上谕，凡事都照《大明会典》行，极为得策。”[ 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。]&lt;br /&gt;
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From here it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of ''The Code of the Ministry of Penalty'' as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. ''The Petition of Ministers during the Reign of Tiancong'' states, &amp;quot;Recently, by the order of the Emperor, everything should be conducted in accordance with ''The Code of Ming Dynasty'', which is a desirable policy.&amp;quot; (Luo Zhenyu: ''The Petition of Ministers during the Reign of Tiancong'', Beijing: China Remin University Press, 1989, Page2.)&lt;br /&gt;
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From above it can be seen that the Emperor Taizong put an emphasis on practicality with regard to the translation of Chinese works, hoping to associate translation with politics. He objected to the translation of Chinese books with flashy embellishments, or that of unofficial historical works recording unconvincing events. Take the translation of The Code of the Ministry of Penalty as an example. After its publication and promulgation, the tranlation of this code gradually became the norm of handling state affairs. The Petition of Ministers during the Reign of Tiancong states, &amp;quot;Recently, by the order of the Emperor, everything has been conducted in accordance with The Code of Ming Dynasty, which is a desirable policy.&amp;quot; (Luo Zhenyu: The Petition of Ministers during the Reign of Tiancong, Beijing: China Renmin University Press, 1989, Page2.)--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:19, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081516	牟一心	女==&lt;br /&gt;
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宁完我也说，我国六部的设立原是照“蛮子家立的”，因而金官对于部中当举事宜原本并不知情，而今翻译《会典》（即《明会典》），参汉酌金，加以“打动”，必将使其“去因循之习”而“渐就中国之制”。[ 同上，第82页。]&lt;br /&gt;
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四 世祖时期汉籍（书）翻译之发展&lt;br /&gt;
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清初儒臣中，除额尔德尼、噶盖和达海之外，通满、蒙、汉字者不乏他人，如伊成额、希福、刚林等，便是其中姣姣者。&lt;br /&gt;
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Ning Wanwo also said that the establishment of the six ministries in feudal China was based “on that of minority nationalities”, so the officers of Jin Dynasty had no idea about the affairs in the ministries. Now the translation of Code(a record of laws and systems of a dynasty)(namely, Code of Great Ming Dynasty) must refer to both the precedents of Central China and Jin Dynasty and amend them to make it get rid of rigid traditions and turn to the conventions of Central China.[ibidem, Page 82]&lt;br /&gt;
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FOURTH  The development of Chinese literature (books) in Qing Dynasty Shunzhi period&lt;br /&gt;
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Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the strong performers among them.&lt;br /&gt;
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Ning Wanwo also said that the establishment of the six ministries of feudal China was based on “that of the southerners”, so Jin Guan had no knowledge of the affairs concerning the appointment in the ministries. Now the translation of Code( a record of laws and systems of a dynasty)( namely, Code of Great Ming Dynasty) must refer to both the precedents of Han and Jin Dynasty and then amend them to make it get rid of rigid traditions and gradually conform to the conventions of Central China. [ibidem, Page 82.]&lt;br /&gt;
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FOURTH  The development of Chinese literature (books) in Shizu Period &lt;br /&gt;
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Among the civilian officials in the early Qing Dynasty, besides Erdeni, Gagai, Daher, there is no lack of masters of Manchu language, Mongolian and Chinese, such as Icher, Hifo, Galin, who were the best performers of them.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:58, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081521	石丽青	女==&lt;br /&gt;
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据传，伊成额不仅将《太祖高皇帝实录》译成汉文，而且翻译了朝鲜所奏表章，以及《礼部会典》等书。[ 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。]希福兼通满、蒙、汉三种语言，他的翻译有别于伊成额，不是将满文译成汉语，也不是将朝鲜文译成满语，而是主要翻译汉书、汉典，所翻译的汉文书籍包括《辽》、《金》、《元》三史等。希福的上述译书于顺治元年进呈皇帝，获世祖恩赉。&lt;br /&gt;
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It is said that Yi Cheng'e translated not only the Annals of Emperor Taizu Gao into Chinese, but also the seals played by North Korea and the Book of the Ministry of Ceremonies. [ Qing Gaozong's Royal Compilation: &amp;quot;Eight Banners Manzhou Clan Genealogy&amp;quot;, Shenyang: Liaoshen Publishing House, 1989, page10.] Xifu was fluent in Manchu, Mongolian and Chinese. His translation was different from Yicheng'e. He did not translate Manchu into Chinese or Korean into Manchu, but mainly translated  Chinese books and Chinese classics, including Liao, Jin and Yuan. Xifu's translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:50, 29 December 2021 (UTC)&lt;br /&gt;
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It is said that Yi Cheng'e translated not only the Factual Record of Taizu, but also the memorials presented to the emperor  by North Korea, Records of the Board of Rites, and other books. [ Qing Gaozong's Royal Compilation: &amp;quot;Eight Banners Manzhou Clan Genealogy&amp;quot;, Shenyang: Liaoshen Publishing House, 1989, page10.] Xi Fu was proficient in Manchu, Mongolian and Chinese, whose translation was different from Yi Cheng’e’s. Neither did he translate Manchu into Chineses nor Korean into Manchu, he mainly translated Chinese books and classics, including Liao, Jin and Yuan. Xi Fu’s translation was presented to the emperor in the first year of Shunzhi and won the honor of Shizu.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:14, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081523	王李菲	女==&lt;br /&gt;
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《清实录·世祖章皇帝实录》中，曾详细记载了希福进呈译本时的情形：窃稽自古史册所载，政治之得失，民生之休戚，国家之治乱，无不详悉具备，其事虽往，而可以诏今；其人虽亡，而足以镜世。故《语》云：“善者吾师，不善者亦吾师。”从来嬗继之圣王，未有不法此而行者也。&lt;br /&gt;
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In the “Records of Qing Dynasty· Emperor Fu Lin”, there was a detailed record of the situation when Xi Fu presented the translation: in the ancient records, whatever gain and loss in politics, weal and woe of people’s livelihood, or governance and chaos of countries,  they’ve all been documented in detail.  Although things have passed, they can still enlighten us. The ancestors have passed away, they can also provide references. Therefore, the “Language” said, “The heroes are my teacher, and so are the villains .” Virtuous emperors from ancient times to present have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)&lt;br /&gt;
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The “Records of Qing Dynasty· Emperor Fu Lin”, which once recorded in detail the situation when Xi Fu presented the translation:  As far as I am concerned, from the ancient records, the gains and losses of politics, the welfare and woe of people’s livelihood, and the governance and chaos in the country, all of which have been documented in detail.  Although things have passed, they can still enlighten us. Although the ancestors passed away, they are enough to mirror the world. Therefore, the “Language” says, “The success is my teacher, and so is the failure.” Virtuous emperors from ancient times have all followed this rule.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 16:01, 28 September 2021 (UTC)    Edited by Wang Zhenlong.&lt;br /&gt;
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==英语语言文学（英美文学）	202120081525	王镇隆	男==&lt;br /&gt;
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辽、金虽未混一，而辽已得天下之半，金亦得天下之大半，至元则混一寰区，奄有天下，其法令政教皆有可观者焉。我先帝鉴古之心，永怀不释，特命臣等将《辽》、《金》、《元》三史，芟（shān）削繁冗，惟取其善足为法，恶足为戒，及征伐畋（tián）猎之事，译以满语，缮写呈书。臣等敬奉纶音，将《辽史》自高祖至西辽耶律大石末年，凡十四帝，共三百七年；《金》凡九帝，共一百十九年；《元》凡十四帝，共一百六十二年，详录其有裨益者，……伏乞皇上万几之暇，时赐省览，懋稽古之德，弘无前之烈，臣等不胜幸甚。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。]&lt;br /&gt;
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Although Liao and Jin did not mix together, Liao had already won half of the world, and Jin had also won the other half. Until the Yuan Dynasty, they were combined into one whole world,and there were considerable and available laws, politics and religions. My first emperor’s desire to learn from the ancients will never be released. I and other ministers were ordered to edit and slash the three histories of &amp;quot;Liao&amp;quot;, &amp;quot;Jin&amp;quot; and &amp;quot;Yuan&amp;quot;, but take the good part as the law, and the evil part as the precepts. And the matters of conquering and hunting, were translated into Manchu,written and presented in a book. I and others followed respectfully my Lord ‘s orders,took the history of Liao from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; Jin, the nine Emperors, lasted one hundred and nineteen years;Yuan recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Lord to have occasional reviews when my Lord is not dealing with country’s affairs,and to encourage your people to live up to ancient virtues and promote the unparalleled huge achievement. I and other would greatly appreciate it. [E'ertai et al. revised with imperial edict &amp;quot;Records of the Qing Dynasty·Records of Emperor Shizuzhang&amp;quot;, Beijing: Zhonghua Book Company, 1985, pp. 15-16. ]&lt;br /&gt;
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Although Liao and Jin did not unite, Liao had already occupied half of the world, so had Jin. Until Yuan Dynasty, they combined and occupied the whole country, and there were considerable and available laws, politics and religions. My previous emperor’s desire to learn from the ancients will never be released. Other ministers and I were ordered to edit and slash ''the History of Liao, Jin and Yuan Dynasty'', take merits as the principle, and learn lessons from demerits. And the matters of conquering and hunting, were translated into Manchu, written and presented in a book. We followed respectfully my Majesty ‘s orders, took ''The History of Liao Dynasty'' from Gaozu to the last year of Yelu Dashi of Xi Liao, where there were 14 emperors, a total of 370 years; ''Jin'', nine Emperors, lasted one hundred and nineteen years; ''Yuan'' recorded all the fourteen emperors for 162 years, and had careful records of those who have benefited us, ... I beg my Majesty to have occasional reviews when he is not dealing with country’s affairs, and to encourage people to observe traditional virtues and advocate the unprecedent huge achievement. We all would greatly appreciate it. [E'ertai et al. revised with imperial edict ''Records of Emperor Shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1985, pp. 15-16. ]--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:35, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081526	卫怡雯	女==&lt;br /&gt;
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上文中，不仅明确论及汉文典籍的历史作用，而且阐述了翻译这些典籍的必要性、作用与目的等，其总目标是“懋稽古之德”，以翻译佐文教，治太平。换言之，希福希望通过翻译《辽》、《金》、《元》三史等，从中原汉族王朝中借鉴国家治理经验，以接续太宗皇太极以来以经世致用为核心的翻译思想，并为嗣后翻译汉籍树立原则与典范。据《国立故宫博物院善本旧籍总目》、《世界满文文献目录》、《全国满文图书资料联合目录》，以及《清代内府刻书目录解题》等综合统计，顺治年间，由官方刊刻的汉书满文译本共九种，分别是《辽史》、《金史》、《元史》、《洪武要训》、《三国志（通俗演义）》、《诗经》、《表忠录》、《孝经》（阿什坦译）和《六韬三略》。其中，顺治七年译成的《三国志（通俗演义）》既有满文本，又有满汉合璧本。&lt;br /&gt;
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As described in the above, it not only discussed the historical role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these ancient books and records. The overall goal is to encourage people to observe traditional virtues, using translation to assist the country to develop culture and education. In other words, Xifu wanted to draw on the experience of state governance from Han Dynasty in the central China through translating the history of Liao, Jin, and Yuan Dynasty in order to succeed the thought of translation of administering state affairs and applying theory to practice as the core since the emperor Taizong Huangtaiji, and set up the principle and model of translating Chinese books for later generation. According to general statistics of The General Catalogue of The Best Edition and the Ancient Books and Records of Taipei's National Palace Museum, The Catalogue of World’s Manchu Literature and The Union Directory of National Manchu Books and Materials and Solving Problems in the Catalogue of Engraved Books in the Qing Dynasty, during the period of Tongzhi, there are nine Manchu translated versions of the official published Chinese books by blocking print, they are: The History of Liao Dynasty, The History of Jin Dynasty, The History of Yuan Dynasty, Hongwu Yaoxun, The Romance of Three Kingdoms, Book of Songs, The Record of Loyalty, Classic of Filial Piety(translated by Ashtan), Liu Tao and San Lue. Among them, The Romance of Three Kingdoms translated in the seventh year of Tongzhi had both Manchu version and the combined one of Chinese and Manchu.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:23, 29 September 2021 (UTC)&lt;br /&gt;
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Thereinbefore, it not only discussed the historic role of Chinese classics, but also illustrated the necessity, the function and the goal of translating these books. The overall goal is to encourage people to observe traditional virtues, using translation to develop culture and education and bring social prosperity. In other words, Xifu wanted to draw on the experience of state governance from Chinese dynasty in the central plains through translating the histories of ''Liao'', ''Jin'', and ''Yuan''. In this way, the translation idea originated from the dynasty of Huangtaiji that knowledge should benefit national affairs can be succeeded and set up the principle and model of translating Chinese books for later generation. According to the general statistics of ''The General Catalogue of the Publications and Classics of National Palace Museum'', ''The Catalogue of World’s Manchu Literature'' and ''The Union Catalogue of National Manchu Books and Materials'' and ''Solving Problems in the Catalogue of Engraved Books in Qing Dynasty'', during the period of Shunzhi dynasty, there are nine official Manchu translations of Chinese books.They are ''History of Liao Dynasty'', ''History of Jin Dynasty'', ''History of Yuan Dynasty'', ''Hongwuyaoxun'', ''Records of the Three Kingdoms'', ''Classic of Poetry'', ''Record of Loyalty'', ''Classic of Filial Piety''(translated by Ashtan), ''Liutaosanlue''. Among them, ''Records of the Three Kingdoms'' translated in the seventh year of Shunzhi dynasty has both Manchu version and the combined one of Chinese and Manchu.(revised by Wei Chuxuan)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:11, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:59, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081527	魏楚璇	女==&lt;br /&gt;
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另外，《孝经》曾于顺治、康熙、雍正朝刊刻三次，但版本明显不同：顺治年间的刊行本为阿什坦译本，康熙年间的刊行本为和素译校本，雍正时期的版本则译者未明，仅注明“雍正皇帝敕译”。令人好奇的是，虽然世祖笃信佛教，论佛谈法，但从相关文献看，未见有顺治朝翻译的汉文经书，其中原因，不得而知。&lt;br /&gt;
What's more, ''Filial Piety'' has different publications of translation in different dynasties. In Shunzhi dynasty, the publication is Ashtan's translation. In Kangxi dynasty, the publication is Hesu's translation. In Yongzheng dynasty, the translator is unknown. It is only indicated in the publication that the translation is asked by Yongzheng emperor. Curiously according to relevant literature though Shunzhi emperor believed in Buddhism, there is no translation of Buddhist classics made in his dynasty. And the reason of this remains a mystery.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:12, 29 September 2021 (UTC)--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:05, 29 September 2021 (UTC)&lt;br /&gt;
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What's more, ''Filial Piety'' has been published and printed three times in the dynasty of Shunzhi, Kangxi and Yongzheng respectively but with three obvious different versions. During the Shunzhi dynasty was the translation of Ashtan, during the dynasty of Kangxi was of Hesu and during the Yongzheng dynasty was of the unknown writer, only indicating &amp;quot;translating under the order of the emperor Yongzheng&amp;quot;. What made people curious was that although Shizu sincerely believed in Buddhism, talking about Buddhism and Buddhist doctrine, there was no Chinese Confucian classics translated during the Shunzhi Dynasty according to the relevant references. And the reason of this remains unknown.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 08:14, 29 September 2021 (UTC)(Wei Zhaoyan 魏兆妍）&lt;br /&gt;
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==英语语言文学（英美文学）	202120081528	魏兆妍	女==&lt;br /&gt;
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世祖年间翻译刊行的九种汉文书籍中，《六韬》、《三国志（通俗演义）》和《大乘经》等三种原系达海于天聪六年开始翻译，但由于达海早逝未能译成。三部作品中，尤以《三国志（通俗演义）》的翻译所获世祖认可为甚。《清实录·世祖章皇帝实录》中说：&lt;br /&gt;
以翻译《三国志（通俗演义）》告成，赏大学士范文程、刚林、祁充格、宁完我、洪承畴、冯铨、宋权、学士查布海、苏纳海、王文奎、伊图、胡理、刘清泰、来袞（gǔn）、马尔笃、蒋赫德等鞍马、银两有差。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。]&lt;br /&gt;
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Nine kinds of Chinese literary books has been translated and published during the year of Shizu, among which Da Hai began translating three kinds of the original system of ''Liu Tao'', ''The Popular Romance of the Three Kingdoms'' and ''Mahayana Sutra'' during the sixth year of Tian Cong. However, Da Hai failed to translate them all successfully due to his early death. Among these three works, especially the translation of ''The Popular Romance of the Three Kingdoms'' has received the most approval of Shizu. Said in ''The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang'': With the completed translation of ''The Popular Romance of the Three Kingdoms'', Shizu would award some side horses and silver to the Grand Master  Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede. [ Ertai and others were ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:52, 29 September 2021 (UTC)&lt;br /&gt;
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Among the nine kinds of Chinese books translated and published during the reign of Shizu emperor , three were first translated by Da Hai in 1632, including &amp;quot;Liu Tao&amp;quot;, “The Popular Romance of the Three Kingdoms&amp;quot; and &amp;quot;Mahayana Sutra”. Yet they failed to be finished due to his early death. Of the three works, the translation of &amp;quot;The Popular Romance of the Three Kingdoms&amp;quot; received the most recognition of Shizu emperor. According to &amp;quot;The Real Record of the Qing Dynasty · Real Record of the Emperor Shizu Zhang&amp;quot;: Given the successful  translation of &amp;quot;The Popular Romance of the Three Kingdoms&amp;quot;, Shizu emperor awarded some side horses and silver to the Grand Master  Fan Wenching, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan and Bachelor Zha Buhai, Su Nahai, Wang Wenkui, Yi Tu, Hu Li, Liu Qingtai, Lai Gun, Ma Erdu, Jiang Hede, and the amount of awards depended on their position.[ Ertai and others ordered by the emperor to modify: ''The Real Record of Qing Dynasty · Real Record of the Emperor Shizu Zhang'', Beijing: China Publishing House, 1985, Page 13. ]--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 07:32, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081531	肖毅瑶	女==&lt;br /&gt;
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此次获得赏赐者共计十六人，从大学士到学士不等，既赏鞍马，又赏银两，可见其对于该书翻译的重视。值得特别注意的是，关于《三国志（通俗演义）》一书的翻译，《清初内国史院满文档案译编》中也有记载，不仅更加详实，而且内容上也与《清实录》中的记载有较大出入。为便于比较，现一并摘录如下：&lt;br /&gt;
A total number of 16 officers, varying from Grand Masters to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides,  what deserves a speacial attention was that  ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three  Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:&lt;br /&gt;
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A total number of 16 officers, varying from Grand Academcians to Bachelors, were awarded saddled horses and silver, which indicated that the emperor had attached great importance to the translation of this book. Besides,  it is worth paying speacial attention that  ''Translation and Compilation of Manchu Archives of the National Institute of History in the Early Qing Dynasty'' also documented some facts about the translation of the ''Romance of Three  Kingdoms''. The records were not only more detailed but also quite different from that of the ''Factual Record of Qing dynasty''. For the convenience of comparison, both were excerpted as follows:----[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:33, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081532	谢佳芬	女==&lt;br /&gt;
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以翻译《三国志（通俗演义）》告成，赏赐内翰林院大臣。赏予大学士范文程巴克什、刚林巴克什、祁充格、宁完我、洪承畴、冯铨、宋权七大臣彩鞍、雕辔（pèi）、……头等马各一匹、银各五十两。赏学士查布海、苏纳海、王文奎、伊图、胡理、清泰、来袞、马迩都、赫德九人无鞍二等马各一匹、银各四十两。&lt;br /&gt;
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 When ''Romance of the Three Kingdoms’’ having been completed，all the ministers in Hanlin Academcian were awarded. The grand secretaries  Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were rewarded color saddle, bridle, one first-class horse and fifty liang of silver respectively. The nine scholars, Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each have one  second-class bareback horse and forty liang of silver&lt;br /&gt;
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After the completion of “Records of the Three Kingdoms”, ministers of Hanlin Academy were awarded. Maesters including Fan Wencheng, Gang Lin, Qi Chongge, Ning Wanwo, Hong Chengchou, Feng Quan, Song Quan were awarded with colorized saddle, bridle, a first-class horse and fifty Liang of silver respectively. Nine scholars like Cha Buhai, Su Nahai, Wang Wenkui, Yitu, Huli, Qingtai, laigon, Ma Youdu and Hede, each of them has one  second-class bareback horse and forty liang of silver respectively.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 13:45, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081534	熊敏	女==&lt;br /&gt;
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赏内弘文院主事能图、叶成格、曹皮、铿特依、杜当、布尔凯、侍讲学士吕宗烈、侍读学士张皮机、典籍官王丛庞九人银各四十两。赏博士科尔科岱、霍斯霍利、尼曼、苏和、奇同格、芒色、霍托、穆成格、周有德、必利科图、国史院博士图巴海、秘书院秦达浑臣十二人银各二十两。赏笔帖式翁国顺、额斯黑、高利、马齐蘭、乌勒扈、穆成格、必利科图、严楚蘭、阿希图、国史院笔帖式朱臣十人银各二十两。&lt;br /&gt;
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Chiefs of Hongwen Academy like Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang, But Erkai,teacher like Lv Zonglie, attendant like Zhang Piji, manager of ancient books like Wang Congpang were rewarded forty pounds of silver respectively.Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 pounds of silver. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 pounds of silver.&lt;br /&gt;
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Chief cadres of Hongwen Academy including Neng Tu,Ye Chengge,Cao Pi,Qiang Teyi,Du Dang,Bu Erkai,Teacher like Lv Zonglie, Attendant like Zhang Piji, Manager of ancient books Wang Congpang were rewarded forty silver pounds respectively. Doctor Me Erkedai, Huh Sihuoli,Niman,Su He,Qi Tongge, Mang Se, Huo Tuo,Mu Chengge,Zhou Youde, Bi Liketu,Tu Bahai,Qin Dahun were all awarded 20 silver pounds. Weng Guoshun,E Sihei,Golly, Ma Qilan,Wu Leba,Mu Chengge, Bi Liketu,Yan Chulan,A Xitu,Zhu Chen were all rewarded with 20 silver pounds.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 12:23, 30 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081539	羊叶	女==&lt;br /&gt;
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以上送礼部一一宣名，跪受赏。[ 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。]&lt;br /&gt;
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显然，上述两种文献提到的系同一件事情，但内容上有明显出入：首先，封赏的人数不同。&lt;br /&gt;
The officials above give gifts to the Ministry of Rites one by one, being declared the name, and kneeling to be rewarded. [Editor of China's First Historical Archives: Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty, Beijing: Guangming Daily Press, 1989, p. 80.] Obviously,the two documents mention the same thing, but there are obvious differences in content: first, the number of people who are rewarded is quite different.&lt;br /&gt;
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All these officials on the list will be named in recognition and rewarded on their knees at the Ministry of Rites. [ Edited by the First Historical Archive of China: &amp;quot;Translation and compilation of Manchu archives in the Early Qing Dynasty•Shunzhi Dynasty&amp;quot;, GuangMing Daily Press, 1989, P80]&lt;br /&gt;
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Appartently, the two literatures mentioned above refer to the same thing, but they differ in content: Firstly, the number of rewarded people is different. --[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:34, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081543	杨柳青	女==&lt;br /&gt;
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例如，《清实录》中只有十六人，《清初内国史院满文档案译编》则多达四十七人，二者之间的出入主要在于弘文院主事、侍讲与侍读学士、典籍官、博士，以及笔帖式等职官群体名单。其次，在赏赐的物件问题上，《清初内国史院满文档案译编》的记载较之《清实录》明显更加详实、具体，可信度更高。再次，在个别封赏对象的称呼上，两种文献之间也有差异。&lt;br /&gt;
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For example, only 16 civil officials are rewarded according to the &amp;quot;Records of the Qing Dynasty&amp;quot; while officials who are rewarded according to the &amp;quot;Translation and Compilation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty&amp;quot; are as many as over 40.  This difference mainly lies in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the &amp;quot;Translation of Manchu Archives of the Chinese Academy in the Early Qing Dynasty&amp;quot; are obviously more detailed, accurate and credible than those in the &amp;quot;Records of the Qing Dynasty&amp;quot;.  Thirdly, there are also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:30, 29 September 2021 (UTC)&lt;br /&gt;
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For example, only 16 civil officials were rewarded in the The Records of the Qing Dynasty while officials rewarded in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were as many as over 40. This difference mainly lay in the list of official groups such as the director of the Hong Arts Institute, official bachelors, classics officers, learned scholars and clerks handling paperwork. Secondly, the records about rewarded items in the Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty were obviously more detailed, accurate and credible than those in the The Records of the Qing Dynasty. Thirdly, there were also some differences between the two literatures in terms of the appellation of the rewarded officials.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:11, 29 September 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==英语语言文学（英美文学）	202120081545	易扬帆	女==&lt;br /&gt;
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例如，《清实录》中的“刘清泰”被写作《清初内国史院满文档案译编》中的“清泰”，“马尔笃”被写作“马迩都”，“蒋赫德”被写作“赫德”，等等。&lt;br /&gt;
世祖年间翻译的汉文书籍中，《洪武宝训》、《表忠录》、《诗经》与《孝经》等也各具代表性。《洪武宝训》系明朝皇权政治的象征，反映了明太祖朱元璋治国理政的理念和方针政策。&lt;br /&gt;
For example, Liu Qingtai in Factual Record of Qing Dynasty was written as Qingtai in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, Mar Du was written as Ma Erdu, and Jiang Hede was written as Hurd, etc.&lt;br /&gt;
The translated Chinese books in the certain era of Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety have had their own representatives.  HongWu Baoxun was a symbol of the imperial power politics of Ming Dynasty, which reflected the ideas and policies of Zhu Yuanzhang, the emperor Taizu of Ming Dynasty.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 16:03, 28 September 2021 (UTC)Yi Yangfan&lt;br /&gt;
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For example, “Liu Qingtai” in Factual Record of Qing Dynasty was written as “Qingtai” in Manchu Archives Translation and Compilation of the Inner State History Academy in the Early Qing Dynasty, &amp;quot;Mar Du&amp;quot; was written as &amp;quot;Ma Erdu&amp;quot;, &amp;quot;Jiang Hede&amp;quot; was written as &amp;quot;Hede&amp;quot;, and so on. The translated Chinese books in Fulin years, such as HongWu Baoxun, The Record of Loyalty, Books of Songs and Classic of Filial Piety all were of representative. Hongwu Baoxun was a symbol of imperial power politics in the Ming Dynasty and reflected the ideas and policies of Zhu Yuanzhang, the emperor of the Ming Dynasty.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:46, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081546	殷慧珍	女==&lt;br /&gt;
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顺治三年三月，《洪武宝训》的满文翻译完成，成为清朝入关后的首部汉籍译作。世祖对于该部译作极为重视，不仅赏赐了刚林、宁完我、范文程等译者，而且由摄政王多尔衮钦命汉官代笔，以世祖名义为译作制作序文，颁行全国。世祖对明太祖推崇备至，尤其是后者制定的条例章程，认为历代贤君莫如洪武，因而本书的翻译目的性极强。&lt;br /&gt;
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In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation written by Chinese writer after the Qing Dynasty was in power. The emperor Shizu attached great importance to this translation. He not only rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed Han officals to write a preface in the name of Shizu, which was issued throughout the country. The emperor Shizu revered the emperor Taizu of Ming Dynasty, especially the regulations and articles he formulated, and believed that there were no virtuous monarchs of all dynasties like Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 01:17, 29 September 2021 (UTC)&lt;br /&gt;
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In the March of the third year of Shunzhi, the Manchu translation of Hongwu Baoxun was completed, becoming the first translation done by Chinese translators since the Qing Dynasty was established. The Emperor Shizu attached great importance to this translation. Not only he rewarded the translators such as Gang Lin,Ning Wanwo, and Fan Wencheng, ect., but also the regent Dorgon appointed the officals of Han Dynasty to write a preface, which was issued throughout the country, in the name of Shizu. The Emperor Shizu praised the emperor Taizu of Ming Dynasty highly, especially the regulations and articles he formulated, and he believed that there were no more virtuous monarchs of all dynasties than Hongwu, so the translation purpose of this book was very strong.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:21, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081548	尹媛	女==&lt;br /&gt;
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换言之，世祖希望借由此书的翻译，以中原汉族王朝的所谓“正统”巩固满清统治，粉饰民族征服和民族压迫。事实上，以翻译汉书，尤其是汉文典章制度书籍的翻译，作为统治的工具和手段，这一点在太宗时期即已存在。作为国家治理的重要手段，太宗不仅令达海改进老满文，而且钦定翻译了不少汉文书籍，如明太祖颁发的《大诰三编》和《三国演义》等，用作出谋划策和军事征讨的参考。&lt;br /&gt;
In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called &amp;quot;orthodox&amp;quot; of Han Dynasty in the Central Plains to deny national conquest and oppression by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As the important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and advising and military campaigns.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:44, 28 September 2021 (UTC)&lt;br /&gt;
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In other words, Shizu hoped to consolidate the rule of Qing Dynasty with the so-called &amp;quot;orthodox&amp;quot; of Han Dynasty in the Central Plains to whitewash national conquests and oppressions by translating this book. Actually, in the reign of Emperor Taizong, it had existed that the translation of Chinese books, especially the translation of Chinese laws and regulations, was regarded as the tools and means of ruling. As an important mean of national governance, the old manchu scripts were developed by Da Hai and not a few Chinese books, such as ''The third Edition of Penal Code'' and ''The Romance of the Three Kingdoms''issued by Emperor Hongwu were translated under the decree of Emperor Taizong, which were used as a reference for planning and military campaigns.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:01, 29 September 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081549	詹若萱	女==&lt;br /&gt;
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《表忠录》同样辑自明朝嘉靖年间，实为杨继盛的两部奏疏，即《请诛贼臣疏》和《请罢马市疏》，由汪宗伊撰于明朝万历年间，属吏部传记类。顺治十三年前后，世祖降旨将杨继盛事迹写成《忠愍记》。所谓“忠愍”，即明穆宗因念及杨继盛参劾严嵩之功，誉其为“直谏诸臣之首”，而追赠给后者的谥号。&lt;br /&gt;
The Record of Loyalty was also written from the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It belonged to official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 02:27, 29 September 2021 (UTC)&lt;br /&gt;
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The Record of Loyalty was also written in the JiaJing peroid of Ming Dynasty. It was actually consisted of two memorials to throne of Yang JIsheng, namely memorial on killing traitors and memorial on closing the horse market written by Wang Zongyi during the Wanli period of Ming Dynasty. It is a kind of official biography. About ShunZhi 13 years, the Emperor Shizu made a decree to write Yang Jisheng’s good deeds into The Record of Zhong Min. The so-called “Zhong Min” referred to the posthumous title given to Yang Jisheng after his death, because Emperor Muzong praised him as “the head of the ministers” for his contribution to impeaching Yan Song.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 13:16, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081553	钟义菲	女==&lt;br /&gt;
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《忠愍记》成书后，世祖御制《表忠录·序》以表彰杨继盛，其中写道：自古贤臣正士效力王家，率授命致身，捐生赴义。迹其所遭，若无厚幸然。&lt;br /&gt;
After the record of Zhong Min was written, the emperor Shizu personally wrote a preface to the record of loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials have devotedly served the emperor family, sacrificing their lives for justice. From what happened, there was no luck.&lt;br /&gt;
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After the Record of Zhong Min was finished, the emperor Shizu personally wrote the Preface to the Record of Loyalty to commend Yang Jisheng, which wrote: since ancient times, virtuous officials and soldiers have devotedly served the loyal family, sacrificing their lives for justice. From what happened to them, there was no luck.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:40, 1 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081554	钟雨露	女==&lt;br /&gt;
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而时过论定，声称振杨，及于代远风遥，流徽弥茂，留连曩迹，如遘其人。是以孟轲有言：“奋乎百世之上，百世之下闻者莫不兴起也”。……顾竭志尽忠者，人臣之谊；善善恶恶者，大道之公。&lt;br /&gt;
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But as time went by, the verdict on Yang Jisheng’s exploits had been reached and he gained considerable fame. When the years have passed, the fame of him spread all around. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers; And it was fair to punish the bad and to be kind to the good. --[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:33, 2 October 2021 (UTC)&lt;br /&gt;
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But as time went by, Yang Jisheng’s exploits have been recognized, and he gained considerable fame. The older the years, the more his fame spread. When people recalled his deeds, it was like meeting him in person. Just as Mencius said, “Those who made themselves distinguished a hundred generations before, and after a hundred generations, some people who heard of them are all aroused in this manner.” ……..Those who were intensely loyal could be harmonious with the ministers. And it was fair to punish the bad and to be kind to the good. --[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:09, 11 October 2021 (UTC)&lt;br /&gt;
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==英语语言文学（英美文学）	202120081555	周玖	女==&lt;br /&gt;
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循省往哲，爱结于中，诚有不能自己者也。朕万机之暇，绎载籍，每览忠孝节义之事，未尝不反复三致意焉。[ 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。]&lt;br /&gt;
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一方面，世祖赞誉杨继盛为忠臣之典范；另一方面，世祖又斥责严嵩为逆臣，认为正是严嵩父子威福专擅，浊乱王家，致使纪纲废断。&lt;br /&gt;
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    Reflecting on predecessors, despite the disloyal, the love to nation was condensed together. I was bombarded with numerous affairs. But  in my spare time, I translated and recorded many books through dictation. When I read books about loyalty, I often analyzed them repeatedly to express my regard. [ Yan Chongnian: Kang Xi Shun Tianfu, Beijing: China Publishing House, 2009, Page 482. ]--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 13:12, 11 October 2021 (UTC)&lt;br /&gt;
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On the one hand, the emperor Shizu acclaimed Yang Jisheng as the paragon of loyal minister. On the other hand, he denounced Yan Song as a traitor, and believing（believed--Chen Xiangqiong(talk) )the fact that Yan Song and his son misused their authorities to domineer and disturb the loyal family so that the law and regulations became slacked.（were broken--Chen Xiangqiong(talk)）&lt;br /&gt;
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==外国语言学及应用语言学	202120081480	陈湘琼	女==&lt;br /&gt;
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世祖敕令翻译此书，目的是为了激励官员学做忠谏之臣，劝勉意味浓厚。毋庸置疑，世祖时期的汉籍翻译秉承的原则也是“实用主义”原则，这一点太祖、太宗时期的汉籍翻译并无本质区别。例如，世祖敕译《诗经》，即有显著的现实意义与政治考量。&lt;br /&gt;
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The Emperor Shunzhi commanded to translate this book for the purpose that officials could be encouraged to become people who dare to tell the truth and give right suggestions to the emperor, which had persuasive and warning meanings by itself. In this period, translation of books from Han dynasty was in fact abiding to the “utilization” principle, which had no difference to translations in the period of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”.&lt;br /&gt;
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The Emperor Shunzhi commanded to translate this book to encourage officials to tell the truth and put forward reasonable suggestions, which was of great persuasive meaning.In this period, translation of canons from Han dynasty  actually followed the “utilitarianism” principle, which had no difference to those during the reign of Qianlong Emperor and Huang Taiji Emperor. For example , practical significance and political meditation had been considered for Emperor Shunzhi commanding the translation of “Book of Songs”. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:00, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081492	黄逸妍	女==&lt;br /&gt;
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《清实录·世祖章皇帝实录》中说，顺治十年二月，“上幸内院，披阅翻译《五经》，谕诸臣曰：‘天德王道，备载于书，真万世不易之理也’”。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。]可见，世祖饬令翻译《诗经》之时，其它各经的翻译也在进行，但《五经》中仅有《诗经》一部付梓。《诗经》译毕，世祖也为其御制序文，认为该部作品能使人明性意，崇礼义，“其言之深者，可用于庙堂；言之浅者，可用于身家。以之事君，必忠；以之事父，必孝。&lt;br /&gt;
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According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, &amp;quot;After reading the Five Classics in palace, the emperor contended that morals and natural laws are recorded in these books in extenso, which are tough to reach.&amp;quot; [Revised by Eertai: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It was clear that the translating of other classics was also proceeding when the emperor Shizu commanded the translation of The Book of Songs while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and remained steadfast in the belief that that work helped to behave with propriety and righteousness. &amp;quot;The book can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.&lt;br /&gt;
--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 00:44, 29 September 2021 (UTC)&lt;br /&gt;
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According to Records of Qing Dynasty •Records of the Emperor Shizu, in February of the tenth year during the reign of the emperor Shunzhi, &amp;quot;After having a careful perusal of  the Five Classics in adytum, the emperor proclaimed all ministers that morals and natural laws are recorded in these books in extenso, which are tough to reach for all ages.&amp;quot; [Revised by Eertai et al: Records of Qing Dynasty •Records of the Emperor Shizu, Beijing: Zhonghua Publishing House, 1985:9 ] It could be seen that the translating of other classics was also proceeding when the emperor Shizu commanded to  translate The Book of Songs, while only the latter had been finished among the five classics. When the translation of The Book of Songs came to an end, the emperor Shizu wrote the preface to it himself and believed that reading this work would help us to behave with propriety and righteousness. &amp;quot;It can be used in imperial court from its profound aspect and in average families from its unadorned aspect. Instilled with the belief, the officials would be faithful and the children filial.edit--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:12, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081513	马新	女==&lt;br /&gt;
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更可以敦厚人伦，端正教化。”[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。]&lt;br /&gt;
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从“教化”的角度思考《诗经》的翻译，既是世祖本人的自觉认识，也是以他为首的统治者在面对稗（bài）官小说盛行，而满洲人竞相翻译时所做的一种调整。正如顺治九年进士、刑科给事中阿什坦指出的那样：学者立志，宜以圣贤为期，读书务以经史为中。&lt;br /&gt;
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&amp;quot;It could also give depth to moral relations, straighten out educational ideas and transform people.&amp;quot; [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]&lt;br /&gt;
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It is not only the conscious understanding of Qingshizhu Emperor himself to think about the translation of The Book of Songs from an &amp;quot;Enlightenment&amp;quot; perspective, but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice,  scholars should aspire to be saints and their reading must focus on classical and historical books.  --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:11, 30 September 2021 (UTC)&lt;br /&gt;
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It could also give depth to moral relations, straighten out educational ideas and transform people.&amp;quot; [Ye Shugao: Cultural Policy in the Early Qing Dynasty, Taipei: Daoxiang Publishing House, 2002: 72-73.]&lt;br /&gt;
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Thinking  about the translation of The Book of Songs from the &amp;quot;Teaching&amp;quot; perspectives is not only the personal understanding of Qingshizhu Emperor himself but also an adjustment made by the rulers at his head faced with the prevalence of Bai-guan novels and Manchurians competing for translation. As pointed out by Ashtan, an advanced scholar in the ninth year of Shunzhi and a supervising censor of Justice, the scholars should aspire to be saints and focus on classical and historical books.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 15:38, 30 September 2021 (UTC)&lt;br /&gt;
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==外国语言学及应用语言学	202120081518	秦建安	女==&lt;br /&gt;
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此外杂书无益之言，必概废之而不睹。则庶乎学业日隆，而邪慝（tè）之心无由而入。近见满洲译书内，多有小说秽言，非惟无益，恐流行渐染，则人心易致于邪慝 。&lt;br /&gt;
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Besides, there is no beneficial words in assorted books which should not be allowed to be published and be viewed.(So they shouldn't be allowed to be published and viewed--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:26, 29 September 2021 (UTC)) Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.&lt;br /&gt;
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Revised version:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 13:08, 11 October 2021 (UTC)&lt;br /&gt;
Besides, there is no beneficial words in assorted books.So they shouldn't be allowed to be published and viewed.Then the level of study approximately can be uplifted day by day. Meanwhile, the minds of people will also not be degenerate. Recently I found that the translation of some Manchurian books was full of obscene words which personally was of futility. I am afraid that such transition will be so popular that easily erode people’s thoughts.&lt;br /&gt;
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==外国语言学及应用语言学	202120081522	孙雅诗	女==&lt;br /&gt;
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况圣贤古训，日详究之，犹恐不及，何暇费日时于无用之地？[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。]&lt;br /&gt;
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阿什坦的奏章开宗明义，指出读书必以经史为要，必须摒弃杂书，尤其是污言秽语之书，以免贾祸人心。为此，他奏请皇帝对旗人读书严加限制，要求嗣后翻译书籍也应针对“关圣贤义理，古今治乱之书”，对于其它书籍则“概为禁饬，不许翻译”。[ 同上。]&lt;br /&gt;
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What's more,there are many sages and wisdom need to be researched.We are afraid that we don't have enough time to do it in details day by day.So why do we waste our time translating those things?[Revised by Eertai ect.,proofread by Li Xun，Zhao De ect.:''Baqitongzhi·chuji'',Changchun:Northeast Normal University Press,1989,p.5339.]&lt;br /&gt;
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The advice of Ashitan is very clear from the very begining--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:33, 28 September 2021 (UTC),which points that reading should focus on the Confusion classic and history --[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:39, 28 September 2021 (UTC)and abandon those irrelevant books,especially those of dirty words,to get people rid of the obscene thoughts.In order to do this,he advised the emperor be more strict with the Qi people's readings.flag people's learning.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 15:30, 28 September 2021 (UTC)And he also required his offspring translate books about sages,principles and those can help to govern the society.Besides these books,other books are all forbidden and mustn't be translated.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 11:44, 28 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081530	吴映红	女==&lt;br /&gt;
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这一观点既是他翻译《大学》、《中庸》、《孝经》、《潘氏（通鉴）总论》、《太公家教》的原则与标准，也是太祖朝以来一以贯之的译书宗旨。&lt;br /&gt;
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五 汉籍（书）翻译的文化沟通意涵&lt;br /&gt;
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清初的汉书翻译主要由两部分人员构成：兼通满、汉的旗人（满洲、蒙古、汉军），以及八旗文科举中的举人、进士及第者，特别是顺治朝以来从新科进士中拣选出来学习满文的汉籍士子。&lt;br /&gt;
The opinion is not only the principle and standard of his translation about ‘’University‘’, ‘’the doctrine of the mean‘’,‘ ‘’ the book of filial piety‘’, ‘’the general theory of pan (Tongjian) ‘’and ‘’Taigong family education‘’, but also the consistent purpose of translation from the Taizu Dynasty. &lt;br /&gt;
FIFTH  Cultural communication of Han nationality.&lt;br /&gt;
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)&lt;br /&gt;
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.&lt;br /&gt;
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The opinion is not only the principle and standard of his translation about ‘’Daxue‘’, ‘’Zhongyong‘’,‘ ‘’ Xiaojing‘’, ‘’Genneral Theory(Tongjian) of Pan's Family ‘’and ‘’Taigong Family Education‘’, but also the consistent purpose of translation from the Taizu Dynasty. &lt;br /&gt;
FIFTH  Cultural communication of Han nationality.&lt;br /&gt;
《大学》''The Great Learning'' --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 28 September 2021 (UTC)&lt;br /&gt;
In the early Qing Dynasty, the translation of Chinese traditional book was mostly composed of two parts: the flag people who knew Manchu and Han (Manchuria, Mongolia and Han Army), as well as the candidates, Jinshi and others in the eight flag liberal arts test, especially the Chinese bechelors who was selected from the new Jinshi to study Manchu from the Shunzhi Dynasty.&lt;br /&gt;
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 12:51, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081560	朱壬铎	男==&lt;br /&gt;
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这些人员既是翻译专才，又是文化接触与交流的实践者，代表了满洲统治阶级想要与汉族之间进行文化沟通的意愿。如顺治六年四月，礼科给事中姚文然以“以满汉同心合力为念。窃思满汉一家，咸思报主”为由，奏请从新科进士内广选庶吉士，令其肄习清书，待精熟之后即授以科、道等官。[ 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。]顺治十年，世祖降旨，对此前所选三科庶吉士进行考试，从中选取“通满洲文义者三人”，“以应升之缺用”，并选取“其次可造者十二人”，“仍照原衔，责令勉力学习，俟再试分别。”[ 同上，第7-8页。]&lt;br /&gt;
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These persons are not only experts in translation,but also practicer in cultral contact and communication,which represented the will,which is to cultrally communicate with the Han people,of the ruling class of Manchu.&lt;br /&gt;
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For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspectorof the department of rites,with the reason that &amp;quot;with the purpose that is combining the Man ethnic and the Han ethnic,I secretly came up with an idea about the Man-Han family but with my whole life for the emperor&amp;quot;,made a request that is to widely select Shujishi from newly selected Jinshi and order them to sutdy the books of Qing Dynasty to get well-learned then teach the bureaucrats from other departments and circuits.[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]&lt;br /&gt;
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In the tenth year of Shunzhi,Shizong emperor declared an imperial order about examining the selected Shujishi from all three subjects,from which select three persons who are &amp;quot;familiar with the texts of Manchu&amp;quot;,to&amp;quot;fill the vacancy caused by the former Jinshi selection&amp;quot;,and select &amp;quot;another 12 gifted persons&amp;quot;&amp;quot;remain the former title,make them study hard for the further tests and selection.&amp;quot;[E Ertai et al.write by imperial command:Veritable Records of Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.7-8]&lt;br /&gt;
--[[User:Zhu Renduo|Zhu Renduo]] ([[User talk:Zhu Renduo|talk]]) 02:47, 29 September 2021 (UTC)&lt;br /&gt;
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These person are not only experts in translation,but also practicers in cultural contact and communication. They represent the will to culturally communicate with the Han people,of the ruling class of Manchu.&lt;br /&gt;
For example,in April of the sixth year of Shunzhi,Yao Wenran,the inspector of the Department of Rites,with the reason that &amp;quot;with the purpose that is combining the Manchu and the Han ethnic,I think both Manchu and Han should hold the thought to requite favours to the emperor,made a request to widely select Hanlin bachelor from newly selected Jinshi(a successful candidate in the highest imperial examinations) and order them to sutdy the books of Qing Dynasty to get well-learned then grant them official positions.[E Ertai et al.write by imperial command:Veritable Records of &lt;br /&gt;
Qing Dynasty-Records of Shizu Zhang Emperor,Beijing,China Book Bureau,1985,p.11]&lt;br /&gt;
In the tenth year of Shunzhi, the emperor declared an imperial order about examining the selected Han bachelor of all three subjects,from which select three persons who are &amp;quot;familiar with the texts of Manchu&amp;quot;,to&amp;quot;fill the vacancy caused by the former Jinshi selection&amp;quot;,and select &amp;quot;another 12 gifted persons&amp;quot;&amp;quot;remain the former title,make them study hard for the further tests and selection.&amp;quot;[Idem, p.7-8]&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 06:10, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081477	蔡珠凤	女==&lt;br /&gt;
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雍、乾、嘉年间，从新科进士中选取习满文者的做法得到延续，但每次选取者人数不一，整体上渐呈下降之势，至道光二十年前后废止，为汉书的满文翻译提供了人力来源，同时也为沟通满、汉两族文化提供了桥梁。&lt;br /&gt;
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事实上，早在太宗时期，由于满人尚居关外，不识汉字，又罔知政体，遂敕达海等翻译汉书，使“满洲臣民未习汉文者，亦能兼通汉书”，而太宗自己也以它们作为“临政规范”，学习汉族的国家治理模式。[ 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。]顺治年间，阿什坦译成《大学》、《中庸》等书后，世祖又以它们作为倡导礼义教化的工具，希望通过此举使“满洲人知崇正学、尚经术”，令“邪说不得行”，而“风俗丕变”。[ 同上。]&lt;br /&gt;
In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars continued, but the number of candidates selected each time varied, and the overall trend gradually decreased. It was abolished around the 20th year of Dao Guang, which not only provided a source of manpower resources  for Manchu translation of Hanshu, but also provided a bridge for communication between Manchu and Han cultures.&lt;br /&gt;
In fact, as early as the Taizong period, because the Manchus still lived outside the frontier fortress, did not know Chinese characters and did not know about the regime, they ordered Dahai and other people to translate Chinese books, so that &amp;quot;Manchus who did not learn Chinese could also understand the contents of Chinese books&amp;quot;, and Taizong himself used them as &amp;quot;administration norms&amp;quot; to learn the national governance model of the Han nationality. [Writed by Ertai etc.Checked by Li Xun, Zhao Degui etc.:&amp;quot;Ba Qi Tong Zhi I&amp;quot;, Changchun: Northeast Normal University Press, 1989, P. 5325.] during the reign of Shunzhi, after Ashitan translated the 《University》《Moderate》and other books, Shizu used them as a tool to advocate etiquette and righteousness education, hoping to make &amp;quot;Manchus know and worship orthodox learning and classics&amp;quot; and &amp;quot;heresy can not be carried out&amp;quot; And &amp;quot;Customs change&amp;quot;. [ibid.]&lt;br /&gt;
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In the years of Yong Zheng , Qian Long and Jia Qing , the practice of selecting Manchu scholars from new scholars was continued, but the number of candidates selected each time varied, and the overall trend gradually tended to decrease. It was abolished around the second decade of Dao Guang, which not only provided human resources for Manchu translation of the Han books, but also builded the bridge of cultural communication between Manchu and Han.&lt;br /&gt;
In fact, as early as the the Emperor Taizong period, because the Manchu who still lived outside shanhaiguan pass, did not know Chinese characters and the regime,Taizong ordered Dahai and others to translate the Han books, so that &amp;quot;Manchus who did not learn Chinese could also understand the Han books&amp;quot;, and Taizong himself also used them as &amp;quot; the administration norms&amp;quot; to learn the national governance model of the Han nationality. [Written by Ertai etc.Checked by Li Xun, Zhao Degui etc.:&amp;quot;Ba Qi Tong Zhi I&amp;quot;, Changchun: Northeast Normal University Press, 1989, P. 5325.] During the reign of Shunzhi, after Ashitan translated the &amp;quot;University&amp;quot;&amp;quot;Moderate&amp;quot;and other books,Hong Taiji used them as the tool to advocate confucian code of ethics , hoping to make &amp;quot;Manchus know and worship orthodox learning and classics&amp;quot; and &amp;quot;heresy can not be carried out&amp;quot; and &amp;quot;Customs change&amp;quot;. [ibid.]--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 02:40, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081486	付诗雨	女==&lt;br /&gt;
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显然，汉文经、史的译印有助于端正满洲的人心风俗，使满、汉文化互通有无，即便是《诗经》中提到的各种花草树木、鸟兽虫鱼，也对拓展满人见闻甚有助益。[ 叶高树：《&amp;lt;诗经&amp;gt;满文译本比较研究——以&amp;lt;周南&amp;gt;、&amp;lt;召南&amp;gt;为例》，《国立台湾师范大学历史学报》1992年第20期。]有清一代，并非只有官方组织汉书的翻译，私人译书也很盛行。但官方译书与私人译书不同，无论是在译书的取材上，还是在译书的组织管理上，抑或是译书的颁行上，都有其特殊的考量。&lt;br /&gt;
Obviously,the translation and printing of the classics and history of Han are conductive to correcting the humanity and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in ''the Book of Songs'', also contribute to enrich their knowledge.[Ye Gaoshu:&amp;quot;''Comparative Study of the Manchu translation for 'the book of songs'--Taking  'Zhounan' 'Shannan' as example&amp;quot;,&amp;quot;The Histotrical Journal of National Taiwan Normal University''&lt;br /&gt;
&amp;quot;1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials of translation, the organization and management of the translation, or the publishment of the translation.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 15:16, 28 September 2021 (UTC)&lt;br /&gt;
Obviously,the translation and printing of the classics and history of chinese are conductive to correcting the morality and customs of Manchuria,and exchanging of needed culture between Manchu and Han.Even different kinds of flowers and trees, insects and fish, which were mentioned in &amp;quot;the Book of Songs&amp;quot;, also contribute to enrich their knowledge.[Ye Gaoshu:&amp;quot;Comparative Study of the Manchu translation for 'the book of songs'--Taking 'Zhounan' 'Shannan' as the example&amp;quot;,&amp;quot;The Histotrical Journal of National Taiwan Normal University &amp;quot;1992;No.20.]In the Qing Dynasty, not only the official organization of the Han Books' translation, private translation was also very popular. However, unlike the private translation, the official translation was considered specially, whether in the materials,the organization,the management or the publishment of the translation.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:05, 29 September 2021 (UTC)&lt;br /&gt;
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==日语语言文学	202120081559	周小雪	女==&lt;br /&gt;
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即便是《三国志（通俗演义）》这样的通俗文学作品，译成满文后也被赋予了严肃的兵法与战略意义。以满文遍译汉书，尤其是经、史、子、集等书，并不是为了显示满语语文系统的优越性，所谓“精微巧妙，实小学家所未有”，而是为了“表章经学，天下从风”，通过汉籍的翻译“研究微言，讲求古义”，进行文化沟通。[ 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。]藉由汉文典籍的翻译，满洲统治者不仅了解了汉族文化，而且在接触与学习中获得了“统制”汉民的重要经验，使满洲政权在性质上逐渐向“中原政权”转化，并实现“治统”与“道统”的和谐统一。&lt;br /&gt;
Even popular literature such as The History of the Three Kingdoms was given serious military and strategic significance when translated into Manchu script. The  purpose of translating Chinese books with Manchu script ,especially Canon ,History,Philosophy and Literature such book is not to show the superiority of the Manchu language system,but to show the confucian classics。Through the translation of Chinese  classics ,study small points ,emphasize the ancient significance and carry out cultural communication.Ye Gaoshu.Cultural Policy in the early Qing Dynasty.Taipei:Rice Village Press,2002,p.91.Through the translation of Chinese classics,Manchu rulers not only understood the Han culture,but also gained important experience of controlling the Han people in the process of contact and learning,so that Manchu regime gradually transformed into central plains regime in nature and realized the unity of regnant orthodoxy and confucian orthodoxy.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 14:08, 29 September 2021 (UTC)&lt;br /&gt;
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Modifying canon, history, philosophy and literature to Confusion classics, history, pre Qin hundred works, religion and classical writings.因为经：经书，是指儒家经典著作；史：史书，即正史；子：先秦百家著作，宗教；集：文集，即诗词汇编。泛指我国古代典籍。Canon, history, philosophy and literature did not express the exact meaning.&lt;br /&gt;
--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 01:41, 29 September 2021 (UTC)&amp;quot;表章经学，天下从风”The first half of the sentence is not translated accuratelyand the second half of the sentence has not been translated，so I think it should be translated into &amp;quot;Commend Confucian classics and let people all over the world follow&amp;quot;&lt;br /&gt;
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==日语语言文学	202120081562	邹岳丽	女==&lt;br /&gt;
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结语&lt;br /&gt;
清初之际，虽然国家尚未实现从“征服王朝”向“中原王朝”的转变，但统治者在致力于武力开拓的同时，也开始关注文化活动。一方面，统治者念念不忘“国语骑射”的满洲旧制，将其视作立国精神；另一方面，又积极组织汉书翻译，倡导汉文化精神，从中原儒学中探求君主治术，构建国家的治统与道统。汉书翻译不仅让统治者得以接触汉族思想精粹和政治观念，而且让其在了解汉文经典与汉族文化的过程中，学习历代帝王的执政得失，以及古往今来的兴废事迹，从中汲取治国经验。&lt;br /&gt;
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Conclusion At the beginning of the Qing Dynasty, although the country has not yet realized the transformation from &amp;quot;conquering Dynasty&amp;quot; to &amp;quot;Central Plains Dynasty&amp;quot;，however, while the rulers were committed to the development of force, they also began to pay attention to cultural activities. On the one hand, the rulers never forget the old Manchu system of &amp;quot;national language riding and shooting&amp;quot; and regarded it as the spirit of founding the country;On the other hand, --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)he actively organized the translation of Chinese calligraphy, advocated the spirit of Chinese culture, explored the rule of monarchy from the Confucianism of the Central Plains, and constructed the rule and orthodoxy of the country.Chinese translation not only allows the rulers to get in touch with the  &lt;br /&gt;
ideological essence and political concepts of the Han nationality, but also allows them to learn from the ruling gains and losses of emperors and the rise and fall deeds from ancient to modern times in the process of understanding Chinese classics and Han&lt;br /&gt;
culture, so as to learn from the experience of governing the country. --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)from the experience of governing the country.   “here the preposition from should be deleted--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC)&lt;br /&gt;
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however, while the rulers were committed to expansion by military force.&lt;br /&gt;
国语骑射：Manchu language, horse-riding and archery--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 01:49, 3 October 2021 (UTC)&lt;br /&gt;
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                                                                             --[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 06:46, 28 September 2021 (UTC) ( here &amp;quot;he&amp;quot; is not consistant with the subjective &amp;quot;the rulers&amp;quot;, so &amp;quot;he&amp;quot; should be changed in to &amp;quot;they&amp;quot; )&lt;br /&gt;
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==国别	202120081478	曾俊霖	男==&lt;br /&gt;
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概言之，汉书的翻译既匡扶了社稷，又教化了臣民，令满、汉文化之间的交流得以开启并加深。虽然清初三朝期间，汉书翻译的规模不一，统治者对于汉族文化的具体态度存在差异，但翻译的原则与标准基本未变，那便是以文治教化和典章制度为主，通过翻译汉族典籍，凝聚符合国家需求的集体价值观，并将汉族传统文化落实为国家治理的大政方针，实现兴文教、崇经术、开太平的治国理念。&lt;br /&gt;
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In short, the translation of books of Han nationality not only helped the whole country, but also educated his people so that the cultural exchange between Manchu and Han can be opened and deepened. During the three dynasties of the early Qing Dynasty, the scale of books of Han nationality translation was different, and the rulers' specific attitudes towards Han culture were different, but the principles and standards of translation remained basically unchanged, which focused on cultural education and the system of laws and regulations, condensed the collective values in line with the national needs through the translation of Han classics, and implemened the Han traditional culture as the major policy of national governance, realized the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.&lt;br /&gt;
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In short, the translation of Books of Han not only gave great help to the whole country, but also educated its(the Qing Dynasty) people so that it began and then deepened the cultural exchange between Manchu and Han. During the first three emperors' rulings of the early Qing Dynasty, though the scales of translation was different, and the rulers' specific attitudes towards Han culture differed from each other, the principles and standards of translation remained basically unchanged, that is to say, it will focus on cultural education and the system of laws and regulations, condense the collective values in line with the national needs through the translation of Han classics, and implement the Han traditional culture as the major policy of national governance to realize the governing concept of promoting culture and education, advocating studies of Confucian classics and opening up peace.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:19, 29 September 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==国别	202120081493	黄柱梁	男==&lt;br /&gt;
Footnotes and References&lt;br /&gt;
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1  杨家骆：《金史》，台北：鼎文书局，1985年，第1684页。&lt;br /&gt;
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2  明珠等奉敕修：《清实录·太祖高皇帝实录》，北京：中华书局，1986年，第2页。&lt;br /&gt;
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3  中国第一历史档案馆、中国社科院历史研究所译注：《满文老档》，北京：中华书局，1990年，第1196页。&lt;br /&gt;
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4  鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第13页。&lt;br /&gt;
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5  王钟翰点校：《清史列传》，北京：中华书局，1987年，第187页。&lt;br /&gt;
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6  国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第38页。&lt;br /&gt;
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1. Yang Jialuo, ''History of the Jin Dynasty''(1115-1234), Taipei, Dingwen Book Company, 1985, pp.1684.&lt;br /&gt;
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2. Ming Zhu et al. (compiled under the order of Emperor Kangxi ), ''the Imperial Archives of Emperor Taichu(1559-1626, posthumous titled Gao Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1986, pp.2. &lt;br /&gt;
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3. The First Historical Archives of China, Translated and Noted by the Institute of History in Chinese Academy of Social Sciences, ''Old Documents of Manchu Script'', Peking, Zhonghua Book Company, 1990, pp.1196.&lt;br /&gt;
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4. E Ertai et al. (compiled under the order of Emperor Yongzheng ), ''the Imperial Archives of Emperor Taizong(1592-1643, posthumous titled Wen Huang Di) of the Qing Dynasty'', Peking, Zhonghua Book Company, 1985, pp.13.&lt;br /&gt;
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5. Proofread by Wang Zhongshan, ''Biographies of the Qing Dynasty'', Peking, Zhonghua Book Company, 1987, pp.187.&lt;br /&gt;
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6. Committee of National History Compilation, ''the Imperial Archives of Joseon Dynasty'', Seoul, Committee of National History Compilation, 1973, pp.38.&lt;br /&gt;
--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 08:18, 29 September 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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1 页码标记应为p.1684.&lt;br /&gt;
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2 posthumous titled Gao Huang Di应改为posthumously titled Gao Huang Di,页码标记为p.2.&lt;br /&gt;
&lt;br /&gt;
3“老满文”指的是清太祖努尔哈赤时期创制的满文，以文字中没有圈和点为特点。《满文老档》即是用老满文写成的档案汇编 ，所以《满文老档》应为 ''Manchu Archives written in Fore Manwen'',页码标记为p.1196.&lt;br /&gt;
&lt;br /&gt;
4 同第二句，posthumous titled Wen Huang Di改为posthumously titled Wen Huang Di, 页码标记为p.13.&lt;br /&gt;
&lt;br /&gt;
5 页码标记为p.187.&lt;br /&gt;
  &lt;br /&gt;
6 页码标记为p.38.&lt;br /&gt;
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:20, 1 October 2021 (UTC)Liu Wei&lt;br /&gt;
&lt;br /&gt;
==国别	202120081507	刘薇	女==&lt;br /&gt;
7  国史编纂委员会：《朝鲜王朝实录》，汉城：国史编纂委员会，1973年，第62页。&lt;br /&gt;
&lt;br /&gt;
8  叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第58页。&lt;br /&gt;
&lt;br /&gt;
9  鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第10页。&lt;br /&gt;
&lt;br /&gt;
10 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。&lt;br /&gt;
&lt;br /&gt;
11 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第14页。&lt;br /&gt;
&lt;br /&gt;
12 同上，第2页。&lt;br /&gt;
&lt;br /&gt;
7 National History Compilation Committee, ''Records of the Korean Dynasty'', Seoul: National History Compilation Committee, 1973, p.62.&lt;br /&gt;
&lt;br /&gt;
8 Ye Gaoshu,'' Cultural policise in the early Qing Dynasty'', Taipei: Daoxiang press, 2002, p.58.&lt;br /&gt;
&lt;br /&gt;
9 E Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.10.&lt;br /&gt;
&lt;br /&gt;
10 Luo Zhenyu, ''Collections of secretary's memorial to the throne during the reign of Tencong'', Beijing: Renmin University of China Press, 1989, p.2.&lt;br /&gt;
&lt;br /&gt;
11 E Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.14.&lt;br /&gt;
&lt;br /&gt;
12 Ertai et al.(compiled  by order of the emperor),''Record of the Emperor Taizong Wen in the Qing Dynasty'', Beijing: Zhonghua press, 1985,p.2.        &lt;br /&gt;
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:23, 28 September 2021 (UTC)Liu wei&lt;br /&gt;
&lt;br /&gt;
7 National Institute of Korean History, ''Records of the Korean Dynasty'', Seoul: National Institute of Korean History, 1973, p.62.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 11 October 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==国别	202120081537	颜莉莉	女==&lt;br /&gt;
13 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第24-25、115页。&lt;br /&gt;
&lt;br /&gt;
14 鄂尔泰等奉敕修：《清实录·太宗文皇帝实录》，北京：中华书局，1985年，第9页。&lt;br /&gt;
&lt;br /&gt;
15 罗振玉：《天聪朝臣工奏议》，北京：中国人民大学出版社，1989年，第2页。&lt;br /&gt;
&lt;br /&gt;
16 同上，第82页。&lt;br /&gt;
&lt;br /&gt;
17 清高宗敕纂：《八旗满洲氏族通谱》，沈阳：辽沈书社，1989年，第10页。&lt;br /&gt;
&lt;br /&gt;
18 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第15-16页。&lt;br /&gt;
&lt;br /&gt;
13th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing:  China People's University Press, 1989, pp.24-25,115.&lt;br /&gt;
&lt;br /&gt;
14th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, p.9&lt;br /&gt;
&lt;br /&gt;
15th. Lou Zhenyu: ''Tiancongchao Chengong Zouyi'' , Beijing:  China People's University Press, 1989, p.2&lt;br /&gt;
&lt;br /&gt;
16th. Idem&lt;br /&gt;
&lt;br /&gt;
17th. Qing emperor Gaozong ordered to write: ''General spectrum of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10&lt;br /&gt;
 &lt;br /&gt;
18th. E Ertai eat al revised under order of emperor: ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, pp.15-16&lt;br /&gt;
  &lt;br /&gt;
      &lt;br /&gt;
14. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, p.9&lt;br /&gt;
&lt;br /&gt;
16. Idem, p.82&lt;br /&gt;
 &lt;br /&gt;
17. Qing emperor Gaozong ordered to write: ''Genealogy of Manchu clan in eight banners'', Shenyang: Liaoshen Book Company, 1989,p.10&lt;br /&gt;
&lt;br /&gt;
18. E Ertai eat al （eds. on the order of emperor): ''Factual Record Of Qing Dynasty• Actual Record Of TaiZu'', Beijing:  Zhonghua Book Company, 1985, pp.15-16&lt;br /&gt;
&lt;br /&gt;
==国别	202120081538	颜子涵	女==&lt;br /&gt;
19 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第13页。&lt;br /&gt;
&lt;br /&gt;
20 中国第一历史档案馆编：《清初内国史院满文档案译编·顺治朝》，北京：光明日报出版社，1989年，第80页。&lt;br /&gt;
&lt;br /&gt;
21 阎崇年校注：《康熙顺天府志》，北京：中华书局，2009年，第482页。&lt;br /&gt;
&lt;br /&gt;
22 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第9页。&lt;br /&gt;
&lt;br /&gt;
23 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第72-73页。&lt;br /&gt;
&lt;br /&gt;
24 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5339页。&lt;br /&gt;
 &lt;br /&gt;
19. Ortai and some people compiled it on the orders of the emperor:  ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company, 1989, p.13.&lt;br /&gt;
&lt;br /&gt;
20. Editor of China's First Historical Archives: ''Translation of manchu archives of the National Historical Institute of the early Qing Dynasty, Shunzhi Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.&lt;br /&gt;
&lt;br /&gt;
21. Yan Chongnian made proofreading:  ''Kangxi Shuntian Fuzhi'', Beijing: China Book Company, 2009, p.482.&lt;br /&gt;
&lt;br /&gt;
22. Ortai and some people compiled it on the orders of the emperor: ''Records of emperor shizuzhang in the Qing Dynasty'', Beijing: China Book Company ,1989,p.9.&lt;br /&gt;
&lt;br /&gt;
23.Kao-Shu Yeh,  ''Cultural policy in the early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.&lt;br /&gt;
&lt;br /&gt;
24. Ortai and some people compiled，Li Wei, Zhao Degui and others proofread: ''Journal of the eight banners •First Episode'', Changchun: Northeast Normal University Press, 1989, p. 5339.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
19. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.13.&lt;br /&gt;
&lt;br /&gt;
20. The First Historical Archives of China(ed.). ''A translation of Manchu archives of the Imperial Academy of National History in the Shunzhi Period of the early Qing Dynasty'', Beijing: Guangming Daily Press, 1989, p.80.&lt;br /&gt;
&lt;br /&gt;
21. Yan Chongnian(proofread). ''The History of Shuntian of Emperor Kangxi'', Beijing: China Book Company, 2009, p.482.&lt;br /&gt;
&lt;br /&gt;
22. E,Ertai et al. (eds. under the order of the Emperor). ''An Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty'', Beijing:Zhonghua Book Company,1985,p.9.&lt;br /&gt;
&lt;br /&gt;
23. Kao-Shu Yeh, ''The Cultural Policies of the Early Qing Dynasty'', Taipei:Daoxiang Press, 2002, pp. 72-73.&lt;br /&gt;
&lt;br /&gt;
24. E,Ertai et al.(eds.), Li,Xun&amp;amp;Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5339.&lt;br /&gt;
&lt;br /&gt;
==国别	202120081540	阳佳颖	女==&lt;br /&gt;
25 同上。&lt;br /&gt;
&lt;br /&gt;
26 鄂尔泰等奉敕修：《清实录·世祖章皇帝实录》，北京：中华书局，1985年，第11页。&lt;br /&gt;
&lt;br /&gt;
27 同上，第7-8页。&lt;br /&gt;
&lt;br /&gt;
28 鄂尔泰等修，李洵、赵德贵等点校：《八旗通志·初集》，长春：东北师范大学出版社，1989年，第5325页。&lt;br /&gt;
&lt;br /&gt;
29 同上。&lt;br /&gt;
&lt;br /&gt;
30 叶高树：《&amp;lt;诗经&amp;gt;满文译本比较研究——以&amp;lt;周南&amp;gt;、&amp;lt;召南&amp;gt;为例》，《国立台湾师范大学历史学报》1992年第20期。&lt;br /&gt;
&lt;br /&gt;
31 叶高树：《清朝前期的文化政策》，台北：稻乡出版社，2002年，第91页。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[25] Idem&lt;br /&gt;
&lt;br /&gt;
[26] Ertai et al. (eds. under the order of the Emperor). &amp;quot;Actual Record of ShiZu Zhang in Factual Record of Qing Dynasty&amp;quot;, Beijing:Zhonghua Book Company,1985,p.11.&lt;br /&gt;
&lt;br /&gt;
[27] Idem,pp.7-8.&lt;br /&gt;
&lt;br /&gt;
[28] E,Ertai et al.(eds.), Li,Xun&amp;amp;Zhao Degui et al.(proofread). ''The First Collectanea in Ba Qi Tong Zhi'', Changchun:Northeast Normal University Press,1989, p.5325.&lt;br /&gt;
&lt;br /&gt;
[29] Idem&lt;br /&gt;
&lt;br /&gt;
[30] Ye,Gaoshu. “The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan”.''Historical Inquiry of the National Taiwan Normal University'',no.20(1992).&lt;br /&gt;
&lt;br /&gt;
[31] Ye,Gaoshu. ''The Cultural Policies of the Early Qing Dynasty''. Taipei:Daoxiang Press,2002,p.91.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:16, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[25] Idem&lt;br /&gt;
&lt;br /&gt;
[26] E,Ertai et al. (eds. under the order of the Emperor). &amp;quot;''Actual Record of Shih Tsu Fu Lin in Factual Record of Tsing Dynasty''&amp;quot;, Beijing: China publishing house,1985,p.11.&lt;br /&gt;
&lt;br /&gt;
[27] Idem,p.7-8.&lt;br /&gt;
&lt;br /&gt;
[28] Ertai et al.(eds.), Li,Xun &amp;amp; Zhao Degui et al.(proofread). &amp;quot;''General History of the Eight Banners''&amp;quot;, Changchun: Northeast Normal University Press,1989, p.5325.&lt;br /&gt;
&lt;br /&gt;
[29] Idem&lt;br /&gt;
&lt;br /&gt;
[30] Ye,Gaoshu. &amp;quot;''The Comparative Study of the Manchu Translation On The Book of Songs---Cases Study of Zhounan and Zhaonan.''&amp;quot;, Bulletin of Historical Research of National Taiwan Normal University, No.20(1992).&lt;br /&gt;
&lt;br /&gt;
[31] Ye,Gaoshu. &amp;quot;''The Cultural Policies of the Early Tsing Dynasty''&amp;quot;. Taipei: Daoxiang Publishing House,2002,p.91. --Ye Weijie&lt;br /&gt;
&lt;br /&gt;
=Hongloumeng=&lt;br /&gt;
HERE STARTS A NEW TRANSLATION: REST OF CHAPTER 19 OF HONGLOUMENG&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] etc.&lt;br /&gt;
&lt;br /&gt;
==国别	202120081544	叶维杰	男==&lt;br /&gt;
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第十九回 ... 这些丫头们明知宝玉不讲究这些；二则李嬷嬷已是告老解事出去的了，如今管不着他们：因此只顾玩笑，并不理他。那李嬷嬷还只管问：“宝玉如今一顿吃多少饭？什么时候睡觉？”丫头们总胡乱答应。有的说：“好个讨厌的老货！” 李嬷嬷又问道：“这盖碗里是酪，怎么不送给我吃？”说毕，拿起就吃。一个丫头道：“快别动，那是说了给袭人留着的，回来又惹气了。你老人家自己承认，别带累我们受气。”李嬷嬷听了，又气又愧，便说道：“我不信他这么坏了肠子。别说我吃了一碗牛奶，就是再比这个值钱的，也是应该的。难道待袭人比我还重？难道他不想想怎么长大了？我的血变了奶，吃的长这么大，如今我吃他碗牛奶，他就生气了？我偏吃了，看他怎么着！你们看袭人不知怎么样，那是我手里调理出来的毛丫头，什么阿物儿！”一面说，一面赌气把酪全吃了。&lt;br /&gt;
&lt;br /&gt;
Chapter XIX...These girls' busy joking with each other and not much cared about Nanny Li as they previously knew Pao'yue was not particular about these, and there's no room left for Nanny Li to discipline them for she's already be dismissed. While Nanny Li kept asking:“ How's Pao-yue's appetite these day? And the time he make rest?” Always with so less careness girls reply. Some complained:“Aye! Such an old nosy lady!” Still Nanny Li asked：“A bowl of cheeze here! Why don't you bring it to me?”Then she directly grabbed some to her mouth. One girl hurriedly said:“Quit it! That's what Pao'yue reserved for Xiren! You take the blame yourself if he gets discontented, don't get us involved.” Angry but ashamed also Nanny Li went, and said:“I don't believe it！I even deserve something more valuable, let alone a bowl of milk! Is Xi'ren more important than me? Pao'yue can't be this heartless! Think about it, I myself raised him up this good step by step heart and soul with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he did! And Xi'ren? I taught her everything! Mad at me? Don't be ridiculous!”Nagging, Nanny Li emptied the whole bowl.&lt;br /&gt;
&lt;br /&gt;
Chapter XIX...These maids knew clearly that Baoyu didn't care the trifles. Furthermore, Mammy Li was already retired and she had no control over them. Therefor she just ignored him in her teasing. Mammy Li always asked:&amp;quot;How many meals did Baoyu eat recently? When did he go to bed?&amp;quot; The maids'answers always were irrelevant. Some of them said:&amp;quot;What a nasty old woman!&amp;quot; While Mammy Li kept asking :&amp;quot;There is some cheese in the bowl. Why don't you give me?&amp;quot; As soon as the voice fell down, she grabbed the cheese and had it.  One maid hurriedly said:“Quit it! That's what Baoyu reserved for Xiren! You take the blame yourself and  don't get us involved.” Angry but ashamed also Mammy Li was, and said:“I don't believe he has such a bad temper！I even deserve something more valuable, not to mention a bowl of milk! Is Xi'ren more important than me? Think about it, I raised him up by my breast nursing with my own blood! How can he get discontented merely because of a bowl of milk? Still I'm gonna take it, even if he would! And Xiren? That's me who taught her everything! Mad at me? Don't be ridiculous!”Nagging, Mammy Li emptied the whole bowl.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:29, 2 October 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Chapter XIX ... these servant-girls were well aware that Precious Jade was not particular in these respects, and that in the next place Nanny Plum，having pleaded old age, resigned her place and gone home，had nowadays no control over them，so that they simply gave their minds to romping and joking，and paid no heed whatsoever to her. Nanny Plum however still kept on asking about Precious Jade，&amp;quot;How much rice do you now eat at one meal? And at what time do you go to sleep?&amp;quot; to which questions the servant-girls replied quite at random；some of those being there observed: &amp;quot;What a dreadful despicable old thing she is!&amp;quot; - &amp;quot;In this covered bowl,&amp;quot; she continued to inquire, &amp;quot;is cream, and why not give it to me to eat?&amp;quot; and having concluded these words，she took it up there and then began eating it.&amp;quot; Be quick，and leave it alone!&amp;quot; a servant-girl expostulated，&amp;quot;that，she said, was kept in order to be given to Aroma, and on his return，when he again gets into a huff，you，old lady，must，on your own motion，confess to having eaten it，and not involve us in any way as to have to bear his resentment.&amp;quot; Nanny Plum，at these words，felt both angry and ashamed. &amp;quot;I can't believe，&amp;quot; she forthwith remarked，&amp;quot;that he has become so bad at heart！Not to speak of the milk I've had. I have，in fact every right to even something more expensive than this；for is it likely that he holds Aroma dearer than myself？ It can't forsooth be that he doesn't bear in mind how that I've brought him up to be a big man，and how that he has eaten my blood transformed into milk and grown up to this age！and will be because I'm now having a bowl of milk of his be angry on that score！I will，yes，eat it，and we'll see what he'll do！I don't know what you people think of Aroma，but she was a lowbred girl，whom I've with my own hands raised up! And what fine object indeed was she！&amp;quot;As she spoke，she flew into a temper, and taking the cream, she drank the whole of it.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:02, 11 October 2021 (UTC)Zhang Yang&lt;br /&gt;
&lt;br /&gt;
==国别	202120081551	张扬	男==&lt;br /&gt;
&lt;br /&gt;
又一个丫头笑道：“他们不会说话，怨不得你老人家生气。宝玉还送东西给你老人家去，岂有为这个不自在的？”李嬷嬷道：“你也不必装狐媚子哄我，打量上次为茶撵茜雪的事我不知道呢！明儿有了不是，我再来领。”说着，赌气去了。&lt;br /&gt;
少时，宝玉回来，命人去接袭人。只见晴雯躺在床上不动，宝玉因问：“可是病了？还是输了呢？”秋纹道：“他倒是赢的，谁知李老太太来了，混输了，他气的睡去了。”宝玉笑道：“你们别和他一般见识，由他去就是了。”&lt;br /&gt;
说着，袭人已来，彼此相见。袭人又问宝玉何处吃饭，多早晚回来；又代母、妹问诸同伴姊妹好。一时换衣卸妆。宝玉命取酥酪来，丫鬟们回说：“李奶奶吃了。”宝玉才要说话，袭人便忙笑说道：“原来留的是这个，多谢费心。前儿我因为好吃，吃多了，好肚子疼，闹的吐了，才好了。他吃了倒好，搁在这里白糟蹋了。我只想风干栗子吃，你替我剥栗子，我去铺炕。”&lt;br /&gt;
&lt;br /&gt;
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Another servant-girl grinned:“They don’t know how to speak properly, and it’s no wonder you old lady should get angry. Precious Jade still sends you great things, and it’s impossible that he will feel uncomfortable for a thing like this.” “You don’t have to act like a vixen to cajole me!” Nanny Plum said, “You think I’m not aware that you pushed Snow Alizarin away on account of a cup of tea the other day? And if I did make a mistake, I’ll come by and admit it!” Having said this, she went off, pissed off.&lt;br /&gt;
Soon Precious Jade came back and gave orders to go and fetch Aroma. Seeing Sunny Cloud Formation lying perfectly still on bed, Precious Jade asked:“ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her so that she lost, and angry at that she rushed off to sleep,” Precious Jade smiled:“Don’t place yourselves on the same footing as nanny Plum. Leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask of Precious Jade:“ Where did you have your dinner? And when did you come back?” and to present likewise on behalf of her mother and sisters her salutations to all the girls, who were her companions. In a short while, she changed her costume and washed off her make up. When Precious Jade bade them fetch the cream, the servant-girls answered:“ Nanny Plum has eaten it.” And as Precious Jade was on the point of making some remarks Aroma hastened to interfere, laughing:“ Is it really this that you have kept for me? Many thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. I was so upset that it was only after I had thrown it all up that I feel right. So it's fine that she has had it. If it had been kept there, it would have been wasted all for no use. What I want are dry chestnuts, and if you can clean a few for me, I'll go and lay the bed.&amp;quot;&lt;br /&gt;
--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:58, 29 September 2021 (UTC)Zhang Yang&lt;br /&gt;
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Another servant-girl grinned, “They don’t know how to talk properly, and no wonder you, old lady, get angry. Precious Jade still sends you great things, and it’s no need to be unpleased with it.” “You don’t have to cheat me!” Nanny Plum said, “You think I’m not aware that you sent Snow Alizarin away just on account of a cup of tea the other day? I will get it when it is prepared well tomorrow!” Having said this, she went off with sulks. Soon Precious Jade came back and asked someone to pick up Aroma. Seeing Sunny Cloud Formation lying still on bed, Precious Jade asked, “ Is she ill? Or has she lost at cards?” “She had been a winner,” Autumn Vein answered,“but Nanny Plum came and muddled her, so she lost the game and rushed off to sleep for the anger.” Precious Jade smiled, “Don’t take it serious and just leave her alone.”Aroma came as Precious Jade was saying his words. After the mutual salutations, Aroma went on to ask Precious Jade about the place for dinner and the time he would come back, then greet everyone on behalf of her mother and sisters. In a short while, she changed her costume and washed off her make-up. When Precious Jade asked one to fetch the cream, the servant-girls answered,“ Nanny Plum has taken it.” As Precious Jade was on the point of saying something, Aroma laughing, “ Is it this that you have kept for me? Thanks for troubling. The other day when I ate some of it, I found it very tasty and had a lot of it, then I got a pain in the stomach. It was better that she did so, for at least it is not wasted before getting bad. I just want some drying chestnuts. Could you please peel them while I will make the beds.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:23, 29 September 2021 (UTC)&lt;br /&gt;
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==国别	202020080595	陈静	女==&lt;br /&gt;
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宝玉听了，信以为真，方把酥酪丢开，取了栗子来，自向灯下检剥。一面见众人不在房中，乃笑问袭人道：“今儿那个穿红的是你什么人？”袭人道：“那是我两姨姐姐。”宝玉听了，赞叹了两声。袭人道：“叹什么？我知道你心里的缘故，想是说他那里配穿红的？”宝玉笑道：“不是，不是。那样的人不配穿红的，谁还敢穿？我因为见他实在好的很，怎么也得他在咱们家就好了。”袭人冷笑道：“我一个人是奴才命罢了，难道连我的亲戚都是奴才命不成，定还要拣实在好的丫头才往你们家来？”宝玉听了，忙笑道：“你又多心了。我说往咱们家来，必定是奴才不成，说亲戚就使不得？”袭人道：“那也般配不上。”&lt;br /&gt;
宝玉便不肯再说，只是剥栗子。袭人笑道：“怎么不言语了？想是我才冒撞冲犯了你？明儿赌气花几两银子，买进他们来就是了。”&lt;br /&gt;
宝玉笑道：“你说的话，怎么叫人答言呢？我不过是赞他好，正配生在这深宅大院里，没的我们这宗浊物倒生在这里。”&lt;br /&gt;
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Hearing this, Master Bao fell for it and throw the curds away, taking some chestnuts and then peeling them under the lantern. Finding others not in the room except Aroma, Master quipped: “Who is the the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Master Bao couldn’t repress a sigh of admiration. “What do you sigh for? I know it is because they could not wear red.” Aroma said. Master Bao replied with smile: “No! Who dares to wear red if such persons doesn't deserve it? I just admire them and hope if they can stay in our home.” Aroma sneered, “I am just a slave. So all of my families are slaves and we should pick up the best girls to be slaves in your home?” Master Bao said with smile, “Don’t be touchy. It doesn’t mean to be the slave but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Master Bao refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I just offended you. You could spend some money and buy them if you want.” Master smiled and said, “How to respond to your words. I just show my admiration and think they should be in such circumstance where the persons like me live.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 29 September 2021 (UTC)&lt;br /&gt;
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Hearing this, Master Bao fell for it, threw the curds away, took some chestnuts and then peeled them under the lantern. Finding others not in the room except Aroma, Master quipped: “What’s the relationship between you and the person in red today?” Aroma answered, “Two of my cousins”. Knowing it, Master Bao couldn’t repress a sigh of admiration. “What do you sigh for? I know what you are thinking. You must think they don’t deserve to wear red.” Aroma said. Master Bao replied with smile: “No! Who dares to wear red if such persons don’t deserve it? I just admire them and hope if they can stay in our house.” Aroma sneered, “I live as a maid. So all of my families should be the same as me? And we should pick up the best girls to be maids in your home?” Master Bao said with smile, “Don’t be touchy. It doesn’t mean to be the maid but to be our relatives in our house.” Aroma replied, “It doesn’t match, either.” Master Bao refused to say any more, but just peeled chestnuts. Aroma smiled and said, “Why are you silent? I think I just offended you. You could spend some money and buy them if you want.” Master smiled and said, “How to respond to your words. I just show my admiration and think they are born to be in such circumstance where the persons like me live. ”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:34, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081481	陈心怡	女==&lt;br /&gt;
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袭人道：“他虽没这样造化，倒也是娇生惯养的，我姨父、姨娘的宝贝儿似的。如今十七岁，各样的嫁妆都齐备了，明年就出嫁。”宝玉听了“出嫁”二字，不禁又嗐了两声。正不自在，又听袭人叹道：“我这几年，姊妹们都不大见；如今我要回去了，他们又都去了。”&lt;br /&gt;
宝玉听这话里有文章，不觉吃了一惊，忙扔下栗子，问道：“怎么着，你如今要回去？”袭人道：“我今儿听见我妈和哥哥商量，教我再耐一年，明年他们上来，就赎出我去呢。”宝玉听了这话，越发忙了，因问：“为什么赎你呢？”袭人道：“这话奇了。我又比不得是这里的家生子儿，我们一家子都在别处，独我一个人在这里，怎么是个了局呢？”宝玉道：“我不叫你去，也难哪。”袭人道：“从来没这个理。就是朝廷宫里，也有定例：几年一挑，几年一放，没有长远留下人的理，别说你们家。” 宝玉想一想，果然有理。又道：“老太太要不放你呢？”&lt;br /&gt;
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Aroma said, “Although she has few achievements, she is pampered and the apple of my uncle’s, aunt’s eyes. She is now 17. Since all kinds of dowries had been prepared, she could get married next year. ” Hearing “get married”,  Precious Jade Merchant signed spontaneously. He was still ill at ease and then heard Aroma said, “I have rarely met with my sisters in the past few years. Now I’m going back, however, they came.” Precious Jade Merchant thought that there’s more to it than what is said. He was amazed, threw chestnuts at once and asked, “what’s wrong? You are going back now?” Aroma said, “I heard my mother and brother talking about it today. They want me to remain patient for another year and they will come here to redeem me next year. ” Precious Jade heard it, felt anxious and asked, “Why they want to redeem you?” Aroma said, “What you said is pretty strange. I’m not a daughter of maids here. My family is elsewhere, and I’m the only one here. How can it be like this?” Precious Jade said, “I’m afraid I can’t let you go.” Aroma said, “It makes no sense. There are routines even in the imperial palace: palace maids are selected once every few years and then set free. There is no reason to keep a person for a long time in the imperial palace, let alone in your house.” Precious Jade thought about it for a while and thought it made sense. Then he said, “What if my grandmothers doesn’t let you go?”--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 10:02, 29 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Though not born as good, she is also spoilt and pampered, being the apple of my aunt and uncles’ eyes. She is now 17 and dowries of all sorts have been prepared for her marriage next year.” At the hearing of the word “marriage”, Precious Jade Merchant gave a sigh. As he was feeling ill at ease, Aroma sighed and continued, “I rarely met my sisters in the past few years. While I’m going back home, they are all about to leave.” Precious Jade Merchant felt surprised at what she said. He threw away chestnuts at once and asked, “why, you are going back home?” Aroma answered, ““I heard my mother and my brother talking today. They told me to stay here for another year and they will come here to ransom me next year.” Hearing that, Precious Jade got more anxious and asked, “Why do they want to ransom you?” Aroma replied, “what a strange question! I’m no daughter of maids here. My family lives elsewhere and I’m all alone here. How can we be together?” Precious Jade sighed, “If I won’t let you go, I suppose it’s difficult.” Aroma answered, “It makes no sense. There are routines even in the imperial palace: maids are selected once every few years and then set free. There is no reason to keep a servant for a long time in the imperial palace, let alone in your house.”Precious Jade thought for a while and considered it reasonable. Then he said, “What if my grandmothers won’t  let you go?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 09:47, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081487	高蜜	女==&lt;br /&gt;
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袭人道：“为什么不放呢？我果然是个难得的，或者感动了老太太、太太，不肯放我出去，再多给我们家几两银子留下，也还有的；其实我又不过是个最平常的人，比我强的多而且多。我从小儿跟着老太太，先伏侍了史大姑娘几年，这会子又伏侍了你几年。我们家要来赎我，正是该叫去的，只怕连身价不要，就开恩放我去呢。要说为伏侍的你好，不叫我去，断然没有的事。那伏侍的好，是分内应当的，不是什么奇功；我去了，仍旧又有好的了，不是没了我就使不得的。”&lt;br /&gt;
宝玉听了这些话，竟是有去的理，无留的理，心里越发急了。因又道：“虽然如此说，我只一心要留下你，不怕老太太不和你母亲说，多多给你母亲些银子，他也不好意思接你了。”&lt;br /&gt;
袭人道：“我妈自然不敢强：且慢说和他好说，又多给银子；就便不好好和他说，一个钱也不给，安心要强留下我，他也不敢不依。但只是咱们家从没干过这倚势仗贵霸道的事。这比不得别的东西，因为喜欢，加十倍利，弄了来给你，那卖的人不吃亏，就可以行得的；如今无故平空留下我，于你又无益，反教我们骨肉分离，这件事，老太太、太太肯行吗？”&lt;br /&gt;
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Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I am a most ordinary person. A whole lot people are better than me. Bought in by Grandma Merchant since I was a child, I had served Lady History for the first several years, and these several years I have been serving you. Now my family are about to pay the ransom. When I ask for a leave, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have served you well. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good servants who will take my place when I leave.” Hearing that, Precious Jade Merchant became all the more anxious because she had a reason to leave and no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I wish Grandma Merchant to talk to your mother and give her a lot more money so that she has no reason to come and take you home. Aroma replied, “My mother certainly dares not to ask for my leaving, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my mother. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 16:09, 28 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Why won’t she let me leave? I should be so important, or I have somehow moved Grandma Merchant and Lady King so that they won’t let go of me and give some more money to my family so as to make me stay. Actually, I can't be more ordinary, and too many maids out there are better than me. Bought in by Grandma Merchant when I was a child, I had served Lady History for the first several years, and these years I have been serving you. Now my families are about to pay the ransom. When I ask for leaving, I’m thinking that you could have mercy on me and allow my leaving without the ransom money. I certainly don’t buy it that you stop me from leaving just because I have taken good care of you. Even if it’s true, I’m just doing what I’m supposed to do, which is really no big deal. Nothing will go wrong without me as there are still good maids who will take my place when I leave.” Hearing that, Precious Jade Merchant became more anxious because she had every reason to leave but no reason to stay. Therefore, he continued, “Since all I want is to keep you here, I might as well tell you that I may beg Grandma to talk to your mother and give her extra money so that she has no reason to come and take you home.” Aroma replied, “My mother certainly dares not to ask, not to mention that you talk to her in a mild and polite way and give her extra money. Even if you force her without a penny, she dares not to defy. It’s only that your family has never done such a thing as to throw your weight about. It’s feasible when you buy something with ten times of its original price out of love, for the seller suffers no loss. Unlike anything else, it does you no good to keep me for no reason, which instead separates me from my family. Do you think Grandma Merchant and Lady King will let that happen?”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 10:02, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081489	何芩	女==&lt;br /&gt;
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宝玉听了，思忖半晌，乃说道：“依你说来说去，是去定了？”袭人道：“去定了。”宝玉听了，自思道：“谁知这样一个人，这样薄情无义呢！”乃叹道：“早知道都是要去的，我就不该弄了来，临了剩我一个孤鬼儿。”说着，便赌气上床睡了。原来袭人在家，听见他母、兄要赎他回去，他就说：“至死也不回去。”又说：“当日原是你们没饭吃，就剩了我还值几两银子，要不叫你们卖，没有个看着老子娘饿死的理；如今幸而卖到这个地方儿，吃穿和主子一样，又不朝打暮骂。况如今爹虽没了，你们却又整理的家成业就，复了元气；若果然还艰难，把我赎出来，再多掏摸几个钱，也还罢了。其实又不难了，这会子又赎我做什么？权当我死了，再不必起赎我的念头了。”因此哭了一阵。他母、兄见他这般坚执，自然必不出来的了；况且原是卖倒的死契。明仗着贾宅是慈善宽厚人家儿，不过求求，只怕连身价银一并赏了，还是有的事呢。&lt;br /&gt;
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After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “I have to.” Aroma confirmed. Hearing this, Precious Jade thought to himself, “Who knows how heartless you are.”  “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother wanted to redeem her back.  “I won’t go back until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have recollected yourselves and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t ever think about it! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for her to leave the Merchant’s, besides, it was a sold-out death indenture. In fact, it was not impossible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:03, 28 September 2021 (UTC)&lt;br /&gt;
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After hearing this, Precious Jade Merchant thought for a while and said, “According to you, you have to go?” “Yes, I have to.” Aroma confirmed. Hearing this, Precious Jade thought, “Who knows how heartless she is.”  “I should not have had you here, since you are doomed to go, leaving me alone as a ghost.” Precious Jade sighed and went to bed with complaints. However, during her stay at home, Aroma heard her mother and elder brother want to redeem her back.  “I won’t return home until I die.” Aroma railed, “At that time, you were starved to death. Nothing but I was worth some money. If I had refused to be sold, you would have been dead. I was fortunately to be sold to the Merchant’s and treated as a lady, free from abuses. Though my father has passed away, you have reorganized the family and established new lives. If you were still in trouble, it would make sense that you wanted to reap some profit by redeeming me out. Since you are not, why are you bothering to do this? Don’t think about it anymore! Just pretend I’m dead.” Seeing Aroma’s tears and insistence, her mother and elder brother knew it was impossible for Aroma to leave the Merchant’s, besides, it was a sold-out lifetime indenture. In fact, it was possible for the Merchant’s, who was a charitable and generous family, to set Aroma free with compensation money, if Aroma pleaded.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:41, 29 September 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081499	李双	女==&lt;br /&gt;
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二则，贾府中从不曾作践下人，只有恩多威少的；且凡老少房中所有亲侍的女孩子们，更比待家下众人不同，平常寒薄人家的女孩儿也不能那么尊重。因此他母子两个就死心不赎了。&lt;br /&gt;
次后忽然宝玉去了，他两个又是那个光景儿，母子二人心中更明白了，越发一块石头落了地，而且是意外之想，彼此放心，再无别意了。&lt;br /&gt;
且说袭人自幼儿见宝玉性格异常，其淘气憨顽出于众小儿之外，更有几件千奇百怪、口不能言的毛病儿。近来仗着祖母溺爱，父母亦不能十分严紧拘管，更觉放纵弛荡，任情恣性，最不喜务正。每欲劝时，谅不能听。今日可巧有赎身之论，故先用骗词以探其情，以压其气，然后好下箴规。今见宝玉默默睡去，知其情有不忍，气已馁堕。自己原不想栗子吃，只因怕为酥酪生事，又像那茜雪之茶，是以假要栗子为由，混过宝玉不提就完了。&lt;br /&gt;
What’s more, the Merchant’s was very good to the servants, and never treated them cruelly. All the girls who served the old or the young received more respect than the others, even more than the girls who lived in poor families. Consequently Aroma’s mother and brother made their minds not to redeem her. Later the sudden arrival of Precious Jade and his meeting with Aroma still further reassured them and put down their stone in heart. The unexpected situation dispelled their other thoughts. When Precious Jade Merchant was young, Aroma found that he was different from ordinary children and that he was naughtier and had some foibles which can’t be told to others. Recently, because Grandma Merchant spoiled Precious Jade too much, his parents couldn’t discipline him too. He was therefore more indulgent and willful, and hated doing the right thing. Whenever others persuaded him, he was stubborn. Today it happened to talk about redemption, so Aroma deliberately lied to Precious Jade to test his attitude and to restrain his anger, and then made the rules. She saw Precious Jade go to sleep silently. She knew the truth, therefore she couldn’t help feeling some guilt, and her anger also subsided. Aroma hadn’t wanted to eat the chestnuts, but was just afraid of the problems that would result from the milk, just like Snow Alizarin’s tea. For this reason, she tricked Precious Jade into not mentioning milk by pretending she wanted to eat chestnuts.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 04:50, 29 September 2021 (UTC)&lt;br /&gt;
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What’s more, the Merchant’s was very nice to the servants, and never treated them cruelly. All the girls who served as maids of the family members, old or young, were generally treated more kindly than the servants in other position, and were even better off than daughters of ordinary families. Consequently Aroma’s mother and brother made their minds not to buy her freedom. Then the sudden arrival of Precious Jade and the acquaintance between Aroma and her master showed the true situation of Aroma, which made them reassure. The unexpected situation dispelled their other thoughts. These years had shown Aroma that Baoyu with some indescribably odd habits, was no ordinary youth and was more willful than others. Recently, Precious Jade was so indulged by his grandma that his parents couldn’t discipline him strictly. Therefore, he became more indulgent, headstrong and impatient at conventions. Whenever she wanted to exhort him to clean up his act, she was convinced he would not listen to her. Luckily, using the incident as a convenient excuse, Aroma enabled to sound him out, pacify his mood, and give him a good lecture. She saw Precious Jade go to sleep silently. She knew his sadness about her departure, so she didn’t have the heart  to give a lecture  to him. As for chestnuts, Aroma hadn’t wanted to eat but she had pretended to be eager for them, for fear that the junket would creat a disturbance, just like Snow Alizarin’s tea. She made Precious Jade forget the junket by pretending to hanker after chestnuts.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:53, 1 October 2021 (UTC)&lt;br /&gt;
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==翻译学	202120081506	刘胜楠	女==&lt;br /&gt;
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于是命小丫头子们将栗子拿去吃了，自己来推宝玉，只见宝玉泪痕满面。&lt;br /&gt;
袭人便笑道：“这有什么伤心的？你果然留我，我自然不肯出去。”宝玉见这话头儿活动了，便道：“你说说，我还要怎么留你？我自己也难说了。”&lt;br /&gt;
袭人笑道：“咱们两个的好，是不用说了。但你要安心留我，不在这上头。我另说出三件事来，你果然依了，那就是真心留我了；刀搁在脖子上，我也不出去了。”&lt;br /&gt;
宝玉忙笑道：“你说那几件？我都依你。好姐姐，好亲姐姐，别说两三件，就是两三百件，我也依的。只求你们看守着我，等我有一日化成了飞灰，——飞灰还不好，灰还有形有迹，还有知识的。——等我化成一股轻烟，风一吹就散了的时候儿，你们也管不得我，我也顾不得你们了，凭你们爱那里去，那里去就完了。”&lt;br /&gt;
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Aroma thereupon gave the chestnuts to the other maids and nudged Precious Jade gently. She found his face is tear-strained .“Why you so sad about that?”she cajoled. “If you really want me to remind here, I won’t leave of course.” Reading between the lines, Precious Jade quickly replied , “Just tell me what I can do to keep you. I don't know how to persuade you.” She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I’ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.”Precious Jade merrily said, “Well, what are these three conditions? I will agree them all, dear sister, my nice sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to watch over me, and l will not be able to care about you.  I will let you go wherever you please as well.”--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 04:48, 29 September 2021 (UTC) &lt;br /&gt;
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Xi Ren thereupon gave the chestnuts to the other maids and nudged Baoyu gently. She found his face tear-strained .&lt;br /&gt;
“Why are you so sad about that?”she cajoled . “If you really want me to remind in Jia’s mansion, I won’t leave naturally.” Reading between the lines, Baoyu quickly replied , “Just tell me what else I can do to keep you. I don't know.” &lt;br /&gt;
She laughed, “We needn’t mention how well we get along with each other. If you really want to keep me, that’s a whole other story. If you promise me two or three things I come up with, I‘ll assume that you are truly want me to stay. Then even a knife at my throat could not make me get out of here.” Baoyu merrily said, “Well, what are these three conditions? I will agree them all, good  sister, my dear sister. I’d agree to two or three hundred conditions, let alone two or three. I merely implore you all to stay and take care of me until the day that I turn into flying ashes. No, I don’t want to turn into ashes because ashes have a trace of form and awareness . I’d like to let you all stay until I’ve turned into a wisp of smoke and been blown away by the wind. Then you will not be able to take care of me, and l will not be able to care about you.  I will let you go wherever you want as well.”--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:38, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120021494	金晓童	女==&lt;br /&gt;
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急的袭人忙捂他的嘴道：“好爷，我正为劝你这些个，更说的狠了。”宝玉忙说道：“再不说这话了。”袭人道：“这是头一件要改的。”宝玉道：“改了，再说你就拧嘴。还有什么？”&lt;br /&gt;
袭人道：“第二件，你真爱念书也罢，假爱也罢，只在老爷跟前，或在别人跟前，你别只管嘴里混批，只作出个爱念书的样儿来，也叫老爷少生点儿气，在人跟前也好说嘴。老爷心里想着：我家代代念书，只从有了你，不承望不但不爱念书(已经他心里又气又恼了)，而且背前面后混批评：凡读书上进的人，你就起个外号儿，叫人家‘禄蠹’；又说只除了什么‘明明德’外就没书了，都是前人自己混编纂出来的。这些话，你怎么怨得老爷不气，不时时刻刻的要打你呢？”&lt;br /&gt;
宝玉笑道：“再不说了。那是我小时候儿不知天多高地多厚，信口胡说的，如今再不敢说了。还有什么呢？”&lt;br /&gt;
Aroma covered his mouth in a hurry and said:&amp;quot;my dear lord, I'm trying to persuade you, but you said these even harder.&amp;quot; Precious Jade Merchant quickly said:&amp;quot;I will not say these again.&amp;quot;&amp;quot;This is the first thing you need to change.&amp;quot;Aroma replied.Precious Jade Merchant said:&amp;quot;OK,if I say it again,you can twist my mouth.Anything else?＂&lt;br /&gt;
Aroma said:” The second thing, whether you like studying or not, except for nonsense you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk. Milord will say to himself:“Everyone in my family have studied from generation to generation except you. And I can’t imagine that not only do you hate reading(already he was angry and bitter), but also making criticism everywhere----if someone are motivated and love reading, you will call him ‘greedy man’; or you will say every book is fabricated but ‘li Ji’Because of these above, why did you complain that milord are usually annoyed and beat your ass?” “I will never be like that before. When I was a kid, I didn’t understand bragging and talk whatever I want. My dare not say now, and what else?” Precious Jade Merchant said with a smile.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:49, 28 September 2021 (UTC)&lt;br /&gt;
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Xiren covered his mouth in a hurry and said: &amp;quot;my dear lord, I'm trying to persuade you, but you're exaggerating these.&amp;quot;Baoyu quickly said: &amp;quot;I will not say these again. &amp;quot; &amp;quot;This is the first thing you need to change. &amp;quot;Xiren replied.Baoyu said: &amp;quot;OK, if I say it again,you can twist my mouth. Anything else? &amp;quot;Xiren said: &amp;quot;The second thing, whether you like studying or not, you can't just talk nonsense, you just need to pretend that you like reading when talking to milord or other people, which can make milord less angry so that he have something to talk with others. Milord will say to himself: &amp;quot;Everyone in my family have studied from generation to generation except you .And I can't imagine that not only do you hate reading (already he was angry and bitter), but also making criticism everywhere casually----if someone are motivated and love reading, you will call him 'greedy man'; you also said there were no other books in the world except 'li Ji', that all other books were made up groundlessly by predecessors. Because of these above, why did you complain that milord are usually annoyed and beat your ass? &amp;quot; &lt;br /&gt;
&amp;quot;I will never be like that before. When I was a kid,  I didn't understand bragging and talk whatever I want. My dare not say now, and what else? &amp;quot;BaoYu said with a smile.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 02:19, 2 October 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081504	李怡	女==&lt;br /&gt;
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袭人道：“再不许谤僧毁道的了。还有更要紧的一件事：再不许弄花儿，弄粉儿，偷着吃人嘴上擦的胭脂和那个爱红的毛病儿了。”宝玉道：“都改，都改。再有什么，快说罢。”&lt;br /&gt;
袭人道：“也没有了，只是百事检点些，不任意任性的就是了。你要果然都依了，就拿八人轿也抬不出我去了。”宝玉笑道：“你在这里长远了，不怕没八人轿你坐。”袭人冷笑道：“这我可不稀罕的！有那个福气，没有那个道理，纵坐了也没趣儿。”&lt;br /&gt;
二人正说着，只见秋纹走进来说：“三更天了，该睡了。方才老太太打发嬷嬷来问，我答应睡了。”宝玉命取表来看时，果然针已指到子初二刻了。方从新盥漱，宽衣安歇，不在话下。&lt;br /&gt;
至次日清晨，袭人起来，便觉身体发重，头疼目胀，四肢火热。先时还扎挣的住，次后挨不住，只要睡，因而和衣躺在炕上。&lt;br /&gt;
Aroma said :Stop denigrating monks and dhamma.There is a more important things : no more indulging in flowers and rouge and powder,no more touching lipstick on other people's lips secretly ,and give up the habit of applying makeup. Precious Jade Merchant said :i will change it all .And anything else ? Aroma said : Nothing,you must be careful of everything and stop being capricious. If you change them all, I won't leave even if you lift me in a  huge Jiao. Precious Jade Merchant laughed and said : If you stay here long enough, you'll be able to ride in a big Jiao. Aroma sneered and said :I don't desire it, and even if I were lucky enough to ride in the big Jiao, it would be against the rules and boring.&lt;br /&gt;
While the two were talking, Autumn Vein came in and said : It's early in the morning and it's time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep. Precious Jade Merchant took a watch and checked the time, and it was already midnight, he cleaned up again and then undressed and went to bed and stopped talking.&lt;br /&gt;
When Aroma got up early the next morning, she felt heavy and dizzy,and she felt her body was burning. At first she managed to stand up, then she couldn't hold on and felt sleepy, and finally she lay down in bed with her clothes on.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:35, 29 September 2021 (UTC)&lt;br /&gt;
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Aroma said, “Stop denigrating monks and dhamma. There is a more important things : no more indulging in flowers and rouge and powder, no more eating lipstick on other people’s lips secretly, and give up the habit of applying makeup.” Precious Jade Merchant said, “I I will rectify all these addictions. And anything else ? ” Aroma said: “No, however, you must be careful of everything and stop being capricious. If you were a kind man, I won’t leave even if you had an eight-man palanquin. Precious Jade Merchant laughed and said: “If you stay here long enough, you’ll be able to in an eight-person palanquin. Aroma sneered and said: “I don’t desire it, and even if I were lucky enough to be in the palanquin, it would be against the rules. That’s boring.” While the two were talking, Autumn Vein came in and said, “It's almost dawn and it’s time to go to bed. Grandma Merchant sent her maid to ask after you, and I said you were asleep.” Precious Jade Merchant asked his servant to bring the watch and checked the time, and it was already midnight. He cleaned up again, undressed and went to bed promptly. When Aroma got up the next morning, she felt heavy and dizzy with a body burning. At first, she was able to stand up, but couldn’t hold on after a short while, and felt extremely sleepy. Thus, she lay down in bed with her clothes on.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:59, 29 September 2021 (UTC)彭瑞雪&lt;br /&gt;
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==法语语言文学	202120081517	彭瑞雪	女==&lt;br /&gt;
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宝玉忙回了贾母，传医诊视，说道：“不过偶感风寒，吃一两剂药，疏散疏散就好了。”开方去后，令人取药来煎好。刚服下去，命他盖上被窝焐汗。宝玉自去黛玉房中来看视。&lt;br /&gt;
彼时黛玉自在床上歇午，丫鬟们皆出去自便，满屋内静悄悄的。宝玉揭起绣线软帘，进入里间，只见黛玉睡在那里，忙上来推他道：“好妹妹，才吃了饭，又睡觉。”将黛玉唤醒。黛玉见是宝玉，因说道：“你且出去逛逛。我前儿闹了一夜，今儿还没歇过来，浑身酸疼。”宝玉道：“酸疼事小，睡出来的病大。我替你解闷儿，混过困去就好了。”黛玉只合着眼，说道：“我不困，只略歇歇儿。你且别处去闹会子再来。”宝玉推他道：“我往那里去呢？见了别人就怪腻的。”&lt;br /&gt;
After hastily greeting Granny Merchant, Precious Jade Merchant invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills, the illness will slowly fade away.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to cook it. As soon as Aroma finished the soup, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade Merchant went alone to Mascara Jade Forest’s room to visit her. At that time, she was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade Merchant gently lifted the curtain and entered the room, only to see her sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” He tried to wake Mascara Jade Forest up. When she was awakened, she saw that the person who had woken her up was Precious Jade Merchant, she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” he answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very ill. I will relieve your boredom so that the sleepiness is dispelled, and you will be refreshed.” Mascara Jade Forest just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade Merchant nudged her and said, “Where can I go? I’m tired of others.”--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:37, 29 December 2021 (UTC)&lt;br /&gt;
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After hastily greeting Grandma Merchant, Precious Jade invited a doctor to see Aroma at home. The doctor said,“This young lady has only caught a cold by chance, take a few pills and she will be recovered.” According to the prescription prescribed by the doctor, the servant was ordered to pick out the medicine in the pharmacy and to decoct it. As soon as Aroma finished the medicine, the doctor asked her to cover herself with a quilt in order to sweat and get rid of the cold in her body. Then, Precious Jade went alone to Mascara Jade's room to visit her. At that time, Mascara Jade was lying alone in bed, taking a nap, and the maids had all gone off to do their own things, and silence filled the whole room. Precious Jade gently lifted the curtain and entered the room, only to see Daiyu sleeping there, and hurriedly went up to her, nudged her and said to her: “Lovely sister, you just went to bed after eating, how can you do that?” Precious Jade tried to wake Mascara Jade up. When she was awakened, she saw that the person who had woken her up was Precious Jade , she saisd, “Could you go out for a walk for the time being. I was up all night the night before, and to this day I still have not recovered my energy. I feel sick.” Precious Jade answered, “Feeling sick is not a big problem. But if you keep sleeping, you will become really very sick. I will relieve your boredom so that the sleepiness will be dispelled, and you will be refreshed.” Mascara Jade just closed her eyes and said,“I’m not sleepy, I just want to rest for a while. Go and play somewhere else for a while, after that, you can come back to me.” Precious Jade nudged her and said, “Where can I go? I’m tired of others.”--Yang Kun(talk) 21;22, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081542	杨堃	女==&lt;br /&gt;
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黛玉听了，嗤的一笑道：“你既要在这里，那边去老老实实的坐着，咱们说话儿。”宝玉道：“我也歪着。”黛玉道：“你就歪着。”宝玉道：“没有枕头，咱们在一个枕头上罢。”黛玉道：“放屁！外头不是枕头？拿一个来枕着。”&lt;br /&gt;
宝玉出至外间，看了一看，回来笑道：“那个我不要，也不知是那个腌臜老婆子的。”黛玉听了，睁开眼，起身笑道：“真真你就是我命中的魔星！请枕这一个。”说着，将自己枕的推给宝玉，又起身将自己的再拿了一个来枕上，二人对着脸儿躺下。&lt;br /&gt;
黛玉一回眼，看见宝玉左边腮上有钮扣大小的一块血迹，便欠身凑近前来，以手抚之细看道：“这又是谁的指甲划破了？”宝玉倒身，一面躲，一面笑道：“不是划的，只怕是才刚替他们淘澄胭脂膏子，溅上了一点儿。”说着，便找绢子要擦。&lt;br /&gt;
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When Mascara Jade heard this, she giggled and said, &amp;quot;Since you want to sit here, sit honestly there and let's talk.&amp;quot; Precious Jade Merchant said, &amp;quot;I want to lie down here,too.&amp;quot; &amp;quot;You can do it!&amp;quot; said Mascara Jade. &amp;quot; Precious Jade said, &amp;quot;There isn't other pillow. Let's be on the same pillow.&amp;quot; Mascara Jade said, &amp;quot;Bullshit! It's not a pillow outside? Take one !&amp;quot; &lt;br /&gt;
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Precious Jade went out to the outer room, looked at it, came back and smiled, &amp;quot;I don't want that, and I don't know if it belongs to a certain pickled old woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up and smiled, &amp;quot; You are the magic star I hit! Please rest with this one. &amp;quot; Then, she pushed her pillow to Precious Jade, got up and fetched another one .After that,the two lay down face-to-face. &lt;br /&gt;
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As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade's left cheek. She leaned forward and looked closely with her hand, saying, &amp;quot;whose nails cut your face?&amp;quot; Precious Jade turned back, hiding, and said with a smile, &amp;quot;It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now.&amp;quot; With that, he looked for the handkerchief to wipe.--Yang Kun (talk) 23:50, 28 September 2021 (UTC)&lt;br /&gt;
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When Mascara Jade heard this, she giggled and said, &amp;quot;Since you want to stay here, sit there quietly and let's  have a talk.&amp;quot; Precious Jade said, &amp;quot;I want to lie down, too.&amp;quot; &amp;quot;Do as you like&amp;quot; said Mascara Jade. &amp;quot; Precious Jade said, &amp;quot;There isn't other pillow. Let's share the pillow.&amp;quot; Mascara Jade said, &amp;quot;Don’t talk rot! It's not a pillow outside? Take one !&amp;quot; Precious Jade went out to the outer room, looked at it, came back and smiled, &amp;quot;I don't want that, and I don't know if it belongs to a certain pickled old woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up and smiled, &amp;quot; You are the magic star I hit! Please rest with this one. &amp;quot; Then, she pushed her pillow to Precious Jade, got up and fetched another one. After that, the two lay down face-to-face. As soon as Mascara Jade looked back and saw a piece of blood ,the size of a button, on Precious Jade’s left cheek. She leaned forward and looked closely with her hand, saying, &amp;quot;whose nails cut your face?&amp;quot; Precious Jade turned back, hiding, and said with a smile, &amp;quot;It's not a wound. I think it's just spattered with a little blusher when I washed it for them just now.&amp;quot; With that, he looked for the handkerchief to wipe.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 05:12, 29 December 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081556	周俊辉	女==&lt;br /&gt;
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黛玉便用自己的绢子替他擦了，咂着嘴儿说道：“你又干这些事了；干也罢了，必定还要带出幌子来。就是舅舅看不见，别人看见了，又当作奇怪事，新鲜话儿，去学舌讨好儿，吹到舅舅耳朵里，大家又该不得心净了。”&lt;br /&gt;
宝玉总没听见这些话，只闻见一股幽香，却是从黛玉袖中发出，闻之令人醉魂酥骨。&lt;br /&gt;
宝玉一把便将黛玉的衣袖拉住，要瞧瞧笼着何物。黛玉笑道：“这时候谁带什么香呢？”宝玉笑道：“那么着，这香是那里来的？”黛玉道：“连我也不知道，想必是柜子里头的香气熏染的，也未可知。”宝玉摇头道：“未必。这香的气味奇怪，不是那些香饼子、香球子、香袋儿的香。”黛玉冷笑道：“难道我也有什么罗汉、真人给我些奇香不成？就是得了奇香，也没有亲哥哥亲兄弟弄了花儿、朵儿、霜儿、雪儿替我炮制。我有的是那些俗香罢了。”&lt;br /&gt;
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Mascara Jade wiped his cheek with her handkerchief. Smacking her mouth, she said:“ You did it again. You always make excuses to do the trifles. You’re lucky that my uncle doesn’t know. But if other people saw it, they would take it as an anecdote, an opportunity to play up to my uncle. As soon as my uncle hears about it, there will be no peace in the house.”&lt;br /&gt;
The words went in one his ear and out the other. At that moment, he smelled a faint fragrance coming from Mascara Jade’s sleeve, which was intoxicating. &lt;br /&gt;
Precious Jade grabbed Mascara Jade’s sleeve to see what it was. Mascara Jade laughed and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it came out of the closet.” Precious Jade shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Mascara Jade sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:04, 2 October 2021 (UTC)&lt;br /&gt;
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Daiyu wiped his mouth with her mocket,she pouted and said:“You did it again, but you also make trouble to us. Although uncle couldn't see it, other people could and would take it as a anecdote. Mabye he heard of it beacause of someone's flattery, there won't be quiet.”&lt;br /&gt;
The words went in one of his ears and out the other. At that moment, he smelled a faint fragrance coming from Daiyu’s sleeve,which was intoxicating. &lt;br /&gt;
Baoyu grabbed Daiyu’s sleeve to see what stuff hide im. Daiyu smiled and said, “Who brings balsam at this time?” He laughed: “Then where does the fragrance come from?” “Even I don’t know. Maybe it's fumigated by the fragrance of the closet.” Baoyu shook his head:“Not necessarily, the smell is very strange, not like the fragrance of incense cake, of incense ball, of incense bag.” Daiyu sneered: “ Will some god give me some magic spice? Even if I really get it, there is no brothers to help me find flowers, buds, frost and snow, then help me make incense. All I have is mediocre spices.”--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 13:13, 29 September 2021 (UTC)&lt;br /&gt;
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==法语语言文学	202120081558	周清	女==&lt;br /&gt;
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宝玉笑道：“凡我说一句，你就拉上这些。不给你个利害也不知道，从今儿可不饶你了。”说着，翻身起来，将两只手呵了两口，便伸向黛玉膈肢窝内两胁下乱挠。黛玉素性触痒不禁，见宝玉两手伸来乱挠，便笑的喘不过气来。口里说：“宝玉，你再闹，我就恼了。”宝玉方住了手，笑问道：“你还说这些不说了？”黛玉笑道：“再不敢了。”一面理鬓，笑道：“我有奇香，你有‘暖香’没有？”&lt;br /&gt;
宝玉见问，一时解不来，因问：“什么‘暖香’？”黛玉点头笑叹道：“蠢才，蠢才！你有‘玉’，人家就有‘金’来配你；人家有‘冷香’，你就没有‘暖香’去配他？”宝玉方听出来，因笑道：“方才告饶，如今更说狠了。”说着又要伸手。黛玉忙笑道：“好哥哥，我可不敢了。”宝玉笑道：“饶你不难，只把袖子我闻一闻。”说着便拉了袖子，笼在面上，闻个不住。黛玉夺了手道：“这可该去了。”宝玉笑道：“要去不能。咱们斯斯文文的躺着说话儿。”说着，复又躺下。黛玉也躺下，用绢子盖上脸。&lt;br /&gt;
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Baoyu smiled and said:&amp;quot;if i say a word,you will do something like this. You don't know how to constrain, from now on, i won't forgive you anymore if you won't change.&amp;quot; As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Daiyu's diaphragm and scratched randomly. Daiyu still couldn't help itching, so she couldn't breathe with a smile. She said:&amp;quot;Baoyu, if you make a disturbance,i will bw anoyed.&amp;quot; Baoyu stopped, he smiled and said:&amp;quot;Will you still say this?&amp;quot; &amp;quot;i'll never do it again. But i have a special perfume, do you have the 'warm perfume'.&amp;quot; Daiyu smiled and said.&lt;br /&gt;
Baoyu couldn't solve it for a while, so he asked:&amp;quot;What's the &amp;quot;warm perfume?&amp;quot; Daiyu nodded and signed with a smile:&amp;quot;stupd, stupid!You have &amp;quot;jade&amp;quot;, people will have &amp;quot;gold&amp;quot;to match you;i have &amp;quot;cold perfume&amp;quot;, but you don't have &amp;quot;warm perfume?&amp;quot; Baoyu undstood:&amp;quot;You just surrendered, and now it's even more excesive.&amp;quot; He was about to stretch out his hand again. Daiyu hurriedly smiled: &amp;quot;Good brother, I don't dare anymore.&amp;quot;Baoyu smiled: &amp;quot;It's not difficult to spare you. I just smell your sleeves.&amp;quot; As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Daiyu grabbed his hand and said, &amp;quot;This is the time to go.&amp;quot; Baoyu smiled and said, &amp;quot;I can't go. Let's lie down and talk quietly.&amp;quot; As he said, he lay down again. Daiyu also lay down and covered her face with silk.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 12:54, 11 October 2021 (UTC)&lt;br /&gt;
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Baoyu smiled and said:&amp;quot;if i say a word,you will do something like this. You don't know what happened if I'm not serious. I won't let you off from this day forward. &amp;quot; As he said, he stood up and exhaled two warm breaths to his both hands, and then put them into the two flanks of Daiyu's diaphragm and scratched randomly. Daiyu still couldn't help itching, so she couldn't breathe with a smile. She said:&amp;quot;Baoyu, if you make a disturbance,i will bw anoyed.&amp;quot; Baoyu stopped, he smiled and said:&amp;quot;Will you still say this?&amp;quot; &amp;quot;i'll never do it again. But i have a special perfume, do you have the 'warm perfume'.&amp;quot; Daiyu smiled and said.&lt;br /&gt;
Baoyu couldn't solve it for a while, so he asked:&amp;quot;What's the &amp;quot;warm perfume?&amp;quot; Daiyu nodded and signed with a smile:&amp;quot;stupd, stupid!You have &amp;quot;jade&amp;quot;, people will have &amp;quot;gold&amp;quot;to match you;i have &amp;quot;cold perfume&amp;quot;, but you don't have &amp;quot;warm perfume?&amp;quot; Baoyu undstood:&amp;quot;You just surrendered, and now it's even more excesive.&amp;quot; He was about to stretch out his hand again. Daiyu hurriedly smiled: &amp;quot;Good brother, I don't dare anymore.&amp;quot;Baoyu smiled: &amp;quot;It's not difficult to spare you. I just smell your sleeves.&amp;quot; As he said, he pulled up his sleeves, caged on his face, and couldn't help smelling it.Daiyu grabbed his hand and said, &amp;quot;This is the time to go.&amp;quot; Baoyu smiled and said, &amp;quot;I don't go. Let's lie down and talk quietly.&amp;quot; As he said, he lay down again. Daiyu also lay down and covered her face with silk.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 13:56, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081488	宫博雅	女==&lt;br /&gt;
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宝玉有一搭没一搭的说些鬼话，黛玉总不理。宝玉问他几岁上京，路上见何景致，扬州有何古迹，土俗民风如何。黛玉不答。宝玉只怕他睡出病来，便哄他道：“嗳哟！你们扬州衙门里有一件大故事，你可知道么？”黛玉见他说的郑重，又且正言厉色，只当是真事，因问：“什么事？”宝玉见问，便忍着笑顺口诌道：“扬州有一座黛山，山上有个林子洞。”黛玉笑道：“这就扯谎，自来也没听见这山。”宝玉道：“天下山水多着呢，你那里都知道？等我说完了，你再批评。”黛玉道：“你说。”&lt;br /&gt;
宝玉又诌道：“林子洞里原来有一群耗子精。那一年腊月初七，老耗子升座议事，说：‘明儿是腊八儿了，世上的人都熬腊八粥。如今我们洞里果品短少，须得趁此打劫些个来才好。’乃拔令箭一枝，遣了个能干小耗子去打听。小耗子回报：‘各处都打听了，惟有山下庙里果、米最多。’老耗子便问：‘米有几样？果有几品？’小耗子道：‘米、豆成仓。果品却只有五样：一是红枣，二是栗子，三是落花生，四是菱角，五是香芋。’&lt;br /&gt;
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Precious Jade Merchant chattered by fits and starts, Mascara Jade Forest kept silent. Precious Jade Merchant asked, “How old were you when you went to the captical? What did you see along the road? Are there any historical sites in Yangzhou? How about the folk customs?” She didn’t answer. Precious Jade Merchant was worried she will get ill for sleeping too long , and coaxed her, “ Ah! There is an important event in yamen of Yangzhou, you know that? ” Mascara Jade Forest saw what he said with a stern look,so she aslo took it seriously. Then she asked, “What envent? ” Upon seeing this, Precious Jade Merchant concealed a smile and kept cooking up, “in Yangzhou there is a mountain called Daishan and a forest cave upon there. ” Mascara Jade Forest smiled, “It is nonsense, I have not heard of it at all. ”Precious Jade Merchant replied, “There are so many landscapes in the world, how do you know all of them? Keeping your comments until i finish my words. ” She said, “Say it. ” Precious Jade Merchant talked recklessly again, “There used to be a bunch of ratspirits in the forest cave. On the seventh day of the twelfth lunar month, the elder ratspirit held a meeting. On the meeting, he said, ‘Tomorrow is the eighth day of the twelfth lunar month. People will all make laba rice porridge. Now that we are short of grain in the cave, we must seize the chance to rob some. ’ Cosequently he threw a command arrow and sent an able young ratspirit to inquire. Young ratspirit returned and reported, ‘I have made inquiries everywhere. The temple at the mountain foot stores most fruits and rice. ’ The old ratspirit asked, ‘ How many kinds of grain? How many kinds of tribute? ’ The young ratspirit said, ‘There's a whole warehouse of rice and bean. There are only five kinds of cereal: one is red dates, two is chestnuts, three is peanuts, four is water chestnut, five is taro. ’--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 01:55, 13 October 2021 (UTC)&lt;br /&gt;
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Chinese names can be translated directly in pinyin.(宝玉—Baoyu；黛玉—Daiyu);Bao Yu was talking nonsense, but Dai Yu always ignored it. She asked him how old he was when he went to Beijing, what sights he saw on the way, what are the monuments in Yangzhou, and what are the customs and folklore. Daiyu did not answer. She was afraid that he would fall asleep and get sick, so she coaxed him, &amp;quot;Oh! There is a big story in your Yangzhou government office, do you know it?&amp;quot; The first time I saw him, I thought he was telling the truth, so I asked, &amp;quot;What is it?&amp;quot; When Baoyu saw the question, he stifled a laugh and said smoothly, &amp;quot;There is a Dai Mountain in Yangzhou and there is a Lin Zi Cave on the mountain.&amp;quot; Daiyu laughed and said, &amp;quot;That's a lie, I haven't heard of this mountain since.&amp;quot; The world is full of mountains and rivers, where do you know them all? When I've finished, you can criticise again.&amp;quot; Daiyu said, &amp;quot;You say it.&amp;quot; Bao Yu said, &amp;quot;There was a group of rat spirits in the forest cave. That year, on the seventh day of the lunar month, the old rats rose to their seats and said: 'Tomorrow is the eighth day of the lunar month, and everyone in the world is making lunar porridge. Now we are short of fruits in the cave, so we must take advantage of this to rob some of them.' He drew an arrow and sent a competent little rat to inquire. The little rat reported, 'I have asked everywhere, but the temple at the bottom of the hill has the most fruit and rice.' The old rat then asked, 'How many kinds of rice are there? How many kinds of fruit are there?' The little rat said, 'Rice and beans are in the warehouse. But there are only five kinds of fruits: first, red dates, second, chestnuts, third, groundnuts, fourth, lozenges, and fifth, taro.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:46, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081515	毛优	女==&lt;br /&gt;
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“老耗子听了大喜，即时拔了一枝令箭，问：‘谁去偷米？’一个耗子便接令去偷米。又拔令箭问：‘谁去偷豆？’又一个耗子接令去偷豆。然后一一的都各领令去了。只剩下香芋，因又拔令箭问：‘谁去偷香芋？’只见一个极小极弱的小耗子应道：‘我愿去偷香芋。’&lt;br /&gt;
“老耗子和众耗子见他这样，恐他不谙练，又怯懦无力，不准他去。小耗子道：‘我虽年小身弱，却是法术无边，口齿伶俐，机谋深远。这一去，管比他们偷的还巧呢。’众耗子忙问：‘怎么比他们巧呢？’小耗子道：‘我不学他们直偷；我只摇身一变，也变成个香芋，滚在香芋堆里，叫人瞧不出来，却暗暗儿的搬运，渐渐的就搬运尽了。这不比直偷硬取的巧吗？’众耗子听了，都说：‘妙却妙，只是不知怎么变？你先变个我们瞧瞧。’小耗子听了，笑道：‘这个不难，等我变来。’说毕，摇身说：‘变！’竟变了一个最标致美貌的一位小姐。众耗子忙笑说：‘错了，错了。原说变果子，怎么变出个小姐来了呢？’小耗子现了形，笑道：‘我说你们没见世面，只认得这果子是香芋，却不知盐课林老爷的小姐才是真正的香玉呢。’”&lt;br /&gt;
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The old mouse was overjoyed and immediately drew an arrow and asked:&amp;quot;Who is going to steal the rice?&amp;quot; A mouse took the order to steal the rice. Then he drew /pulled another arrow and asked again :&amp;quot;Who is going to steal the beans?&amp;quot; Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse drew this left arrow and asked:&amp;quot;Who is going to steal the taro?&amp;quot;  At this time a very small and weak mouse responded:&amp;quot;I am willing to steal the taro.&amp;quot; The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless power, skillful tongue and foresight. I will steal more cleverly than others. &amp;quot;The mice hurriedly asked: &amp;quot;How can you do that?&amp;quot; The little mouse said: &amp;quot;I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, &amp;quot;It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!&amp;quot;The little mouse listened and said with a smile: &amp;quot;This is not difficult, wait for me!&amp;quot; After speaking, he said: &amp;quot;Change! &amp;quot;She has turned into the most beautiful girl in this world. The mice laughed and said:&amp;quot;it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?&amp;quot; The little mouse appeared, and smiled: &amp;quot;I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. &amp;quot;(In Chinese pronounciation of the word &amp;quot;taro&amp;quot; is as the same as the word &amp;quot;fragrant jade&amp;quot;)--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 14:28, 28 September 2021 (UTC)Sept. 28&lt;br /&gt;
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The old mouse was overjoyed and immediately drew an arrow and asked:&amp;quot;Who is going to steal the rice?&amp;quot; A mouse took the order to steal the rice. Then he pulled another arrow and asked again :&amp;quot;Who is going to steal the beans?&amp;quot; Another mouse took the order to steal the beans. All the mouses One by one received the orders, only the order of taro was left. So the old mouse pulled this left arrow and asked:&amp;quot;Who is going to steal the taro?&amp;quot;  At this time a very small and weak mouse responded:&amp;quot;I am willing to steal the taro.&amp;quot; The old mouse and all the mice saw him like this, and they would not allow him to go because they were afraid that he would be unskilled and cowardly. But the little mouse said: ‘Although I am young and weak, I have boundless supernatural power, skillful tongue and foresight. I will steal more cleverly than others. &amp;quot;The mice hurriedly asked: &amp;quot;How can you do that?&amp;quot; The little mouse said: &amp;quot;I won't learn from them to steal directy. I just changed my body and turned into a taro, rolled in the taro pile. In that way people can't see me. Then I will secretly carry the taros, and gradually they were exhausted. Isn't this more clever than stealing directly? All the mice heard this, and they all said, &amp;quot;It's indeed a wonderful way, but how can you change yourself into a taro? Can you show us now? let's see!&amp;quot;The little mouse listened and said with a smile: &amp;quot;This is not difficult, wait for me!&amp;quot; After speaking, he said: &amp;quot;Change! &amp;quot;She has turned into the most beautiful girl in this world. The mice laughed and said:&amp;quot;it’s wrong, it’s wrong. Originally you said that you would turn into fruit, why did you turn into a girl?&amp;quot; The little mouse appeared, and smiled: &amp;quot;I said you hadn't seen the world, because you only recognized that it was a taro, but you didn't know that master Lin's daughter was the real fragrant jade. &amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:00, 11 October 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081529	吴婧悦	女==&lt;br /&gt;
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黛玉听了，翻身爬起来，按着宝玉笑道：“我把你这个烂了嘴的！我就知道你是编派我呢。”说着便拧。宝玉连连央告：“好妹妹，饶了我罢，再不敢了。我因为闻见你的香气，忽然想起这个故典来。”黛玉笑道：“饶骂了人，你还说是故典呢。” 一语未了，只见宝钗走来，笑问：“谁说故典呢？我也听听。”黛玉忙让坐，笑道：“你瞧瞧，还有谁？他饶骂了，还说是故典。”宝钗笑道：“哦！是宝兄弟哟，怪不得他，他肚子里的故典本来多么。就只是可惜一件：该用故典的时候儿，他就偏忘了。有今儿记得的，前儿夜里的芭蕉诗就该记得呀，眼面前儿的倒想不起来。别人冷的了不得，他只是出汗。这会子偏又有了记性了。”黛玉听了，笑道：“阿弥陀佛！到底是我的好姐姐。你一般也遇见对子了。可知一还一报，不爽不错的。”&lt;br /&gt;
刚说到这里，只听宝玉房中一片声吵嚷起来。&lt;br /&gt;
未知何事，下回分解。&lt;br /&gt;
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Mascara Jade Forest listened, turned over and got up, she laughed at Precious Jade and said: “ Why you love to gossip so much? I knew that you were making fun of me.” She said and tweaked his ear. Precious Jade hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Mascara Jade Forest smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Precious hairpin came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Mascara Jade Forest offered her seat to Precious hairpin , and said: “ Look! Who else? He spout insults, but said they are allusion.” Precious hairpin added with a smile: “ Oh! It is brother Precious Jade, it’s none of his business, because he knew a lot of allusions,  but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Mascara Jade Forest listened to her, laughing: “ God! You exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Precious Jade‘s room rang out a noise. Unknown what had happened, it will be told in the next chapter.&lt;br /&gt;
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Daiyu heard, turned over and got up, she laughed at Baoyu and said: “ Why you love to gossip so much? I know that you are making fun of me.” She said and tweaked his ear. Baoyu hastened to say that: “ my dear sister, forgive me please, I dare not do it again. Because I smelt your scent, and suddenly remembered this literary allusion.” Daiyu smiled and added: “ You spout insults but said that it is an allusion.” Didn’t finish saying, while Baochai came in, she also smiled and said: “ Who is telling allusions? I want to know, too.” Daiyu offered her seat to Baochai, and said: “ Look! Who else? He spout insults, but said they are allusion.” Baochai added with a smile: “ Oh! It is brother Baoyu, it’s none of his business, because he knew a lot of allusions,  but it is a pity that he didn’t remember the allusion when it needed. He should have remembered the Plantain poem, but didn’t remember the allusion before him. The others were so cold, but he only sweated, and this time he unexpectedly had a good memory.” Daiyu listened to her, laughing: “ God! You are exactly my good sister. Now you also meet with your opponent. It is true that measure for measure.” By this time, Baoyu’s room rang out a noise. Unknown what had happened, it will be told in the next chapter. --[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:20, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081533	谢庆琳	女==&lt;br /&gt;
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花解语──解：理解，领会。 语本“解语花”，出自五代·王仁裕《开元天宝遗事·卷下·解语花》：“秋八月，太液池有千叶白莲，数枝盛开，帝(唐玄宗)与贵戚宴赏焉。左右皆叹羡。久之，帝指贵妃示于左右曰：‘争如我解语花！’”(争：怎。)原指唐玄宗把杨贵妃比做善解人意的鲜花。引申以比喻善解人意的美女。曹雪芹化用为“花解语”，则变为美女善解人意；而“花”又为袭人之姓，则“花解语”就是花袭人善解人意。&lt;br /&gt;
玉生香──玉：指林黛玉。 生香：散发出香气。语或本“活色生香”，出自唐·薛能《杏花》诗：“活色生香第一枝，手中移得近青楼。”原形容杏花呈现出生机盎然的美丽颜色，散发出沁人心脾的香气。引申以形容女子的天生美貌和芳香气息。这里用以形容林黛玉的天生美貌和芳香气息。&lt;br /&gt;
“Hua Jie Yu” - &amp;quot; Jie&amp;quot;: to understand, to comprehend. The phrase is from Wang Renyu's &amp;quot;The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation&amp;quot;: &amp;quot;In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiyan Pond. The Emperor (Tang Xuanzong) and his noble relatives enjoyed the feast, and all the people around him admired them. After a long time, the emperor pointed to the noble princess and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'&amp;quot; (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin's use of the word &amp;quot;Hua Jie Yu&amp;quot; is a metaphor for a beautiful woman who understands people's feelings; and since &amp;quot;Hua&amp;quot; is also the surname of Assailant, &amp;quot;Hua Jie Yu&amp;quot; means that Hua Assailant understands people's feelings. “Jade is fragrant” - “Jade” refers to Lin Daiyu. The name of the poem is &amp;quot;Jade&amp;quot;. The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: &amp;quot;The first branch of apricot blossoms is in living colour and fragrance, and the hand has moved close to the green tower.&amp;quot; The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Lin Daiyu.&lt;br /&gt;
--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:02, 29 September 2021 (UTC)&lt;br /&gt;
“Hua Jie Yu” - &amp;quot; Jie&amp;quot;: to understand, to comprehend. The phrase is from five dynasties and ten years ·Wang Renyu's &amp;quot;The Legacy of Kaiyuan Tianbao - Volume 2 - The Flower of Explanation&amp;quot;: &amp;quot;In the eighth month of autumn, there were a thousand leaves of white lotus in full bloom at the Taiye Pond. The Emperor (Tang Xuanzong) and his  relatives enjoyed the beautiful scenery, and all the people around him admired them. After a long time, the emperor pointed to Yang Guifei（his wife）and showed her to the left and right, saying: 'Compete with me to interpret the flowers!'&amp;quot; (Strive: how.) Originally, Emperor Tang Xuanzong compared Yang Guifei to an understanding flower. This is a metaphor for a beautiful woman who understands people. Cao Xueqin used  the word &amp;quot;Hua Jie Yu&amp;quot; as a metaphor for a beautiful woman who understands people's feelings; and since “Hua” is also the surname of Aroma, “Hua Jie Yu” means that “Aroma Hua” understands people's feelings. “Yu Sheng Xiang” - “Yu”(Jade) refers to Mascara Jade Forest. “Sheng Xiang”- exude fragrance. Or it could be called ''Huo Se Sheng Xiang''.The phrase is derived from the poem 'Apricot Blossoms' by Xue Neng: &amp;quot;The first branch of apricot blossoms is in living colour and fragrance, when got it in hand has moved close to the brothel.&amp;quot; The original description is that the apricot blossoms are of a vibrant and beautiful colour, emitting a refreshing fragrance. It is also used to describe the natural beauty and fragrance of a woman. Here it is used to describe the natural beauty and fragrance of Mascara Jade Forest.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 03:24, 29 September 2021 (UTC)&lt;br /&gt;
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==俄语语言文学	202120081552	张怡然	女==&lt;br /&gt;
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掷骰(t óu投)子——是一种游戏，即互掷骰子，以点数多少决输赢。 骰子：游戏或赌博用具。多用兽骨制成，为立体小方块，六面分别刻以一、二、三、四、五、六点，一、四点涂以红色，其馀涂以黑色，故又称“色子”。相传为曹操之子曹植发明。&lt;br /&gt;
《丁郎认父》──取材于小说《升仙记》的弋阳腔剧目。写明代杜文学因受奸相严嵩迫害，流落湖广，入赘胡丞相府，与前妻所生子丁郎曲折相认的故事。&lt;br /&gt;
《黄伯央大摆阴魂阵》──或作《黄伯英大摆阴兵阵》。是由《七国春秋平话》改编的地方戏目。写燕国大将乐毅请师父黄伯央(《七国春秋平话》作“黄伯杨”)下山摆设阴魂阵围困齐将孙膑，最后两国讲和的故事。&lt;br /&gt;
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is also black, so the dice is  called again ''Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao. &lt;br /&gt;
''Ding lang got acquainted with his father''-- based on the novel ''Sheng Xian Ji'' yiyang repertoire. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.&lt;br /&gt;
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the  state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last two countries  peace story.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 15:47, 28 September 2021 (UTC)&lt;br /&gt;
Cast the dice - is a game in which two people cast in turn, using the size of the dice to determine the winner. Dice: a game or gambling device.Most of them are small cubes made of animal bones, six sides are engraved on one, two, three, four, five, six points, one and four coated into red, and the rest is coated into black, so the dice is also called 'Shai zi''.It is said to be invented by Cao Zhi, the son of Cao Cao. &lt;br /&gt;
''Ding lang got acquainted with his father''-- based on yiyang repertoire of the novel ''Sheng Xian Ji''. It tells the story of a man named Du Wenxue in the Ming Dynasty, who was forced to live in Huguang area because of the persecution of Yan Song, the adulterous phase. He entered the residence of Prime Minister Hu and met ding Lang, the son of his ex-wife with twists and turns.&lt;br /&gt;
''Huang Boyang's Great display of ghosts'' ─ or ''Huang Boying's great display of died soldiers''. It is a local opera adapted from ”The story collection of the Seven Kingdoms In the Spring and Autumn Period”. It tells the story of the  state of Yan general Yue Yi please master Huang Boyang (''The story collection of the Seven Kingdoms In the Spring and Autumn Period'' for ''Huang Boyang'' ) Down the mountain set up the ghost array besiege Qi general Sun Bin， finally the last make peace between the two countries.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)&lt;br /&gt;
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==亚非语言文学	202120081509	刘越	女==&lt;br /&gt;
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香玉──典出唐·温庭筠《晚归曲》：“弯堤弱柳遥相瞩，雀扇团圆掩香玉。”原比喻美女散发的香气和洁白如玉的肌肤。这里是把玉石的“玉”和林黛玉的“玉”合为一体，以比喻美女林黛玉。&lt;br /&gt;
《孙行者大闹天宫》──京剧和地方戏均有此剧目，取材于小说《西游记》。写孙悟空跟随唐僧前大闹天宫的故事。&lt;br /&gt;
《姜太公斩将封神》──京剧和地方戏均有此剧目，取材于小说《封神演义》。写姜太公助周灭商后斩将封神的故事。 按：以上四剧皆为闹剧，隐寓宁国府子弟粗俗不堪。&lt;br /&gt;
献酬──亦作“献醻”。指酒席上主宾互相敬酒。《诗经·小雅·楚茨》：“献醻交错，礼仪卒度，笑语卒获。”郑玄笺：“始主人酌宾为献，宾既酌主人，主人又自饮酌宾曰醻。”&lt;br /&gt;
行令──即行酒令。是一种宴会中助兴的游戏。其方法是：由一人任令官，按一定规矩行令，违令或按令该饮者都要饮酒。&lt;br /&gt;
Sweet jade -- classic tang · Wen Tingjun late homing song : &amp;quot;Bent dike weak willow distant look, bird fan reunion mask sweet jade.&amp;quot; Originally used as a metaphor for beauty to send out fragrance and white jade skin. Here, the &amp;quot;jade&amp;quot; of jade and the &amp;quot;jade&amp;quot; of  Mascara Jade Forest are combined as a whole to compare the beauty Lin Daiyu.  &lt;br /&gt;
Monkey King Makes Havoc in Heaven-- a play in Both Beijing and local operas, based on the novel 'Journey to the West.' It tells the story of Sun Wukong who caused havoc in heaven before he followed Tang Priest. &lt;br /&gt;
Jiang Taigong beheaded a General and canonized a God. This play is used in Both Beijing Opera and local opera, and is based on the novel Creation of the Gods(Fengshen Yanyi). Write the story of Jiang Taigong, who helped Zhou destroy the Shang dynasty and then beheaded the generals and sealed the gods. The author explains: the above four plays are farce, alluding to the vulgar children of the Ningguo mansion.&lt;br /&gt;
献酬（Make toasts）─ can also be said  献醻. Refers to the banquet guests toasting each other. The Book of  Songs· xiaoya ·chuets : &amp;quot;The host and the guest toast each other, the etiquette completely conforms to the law, then a word and a smile are appropriate natural.&amp;quot; Zheng Xuanjian: &amp;quot;First, the host toasts to the guests. After the guests drink the wine revered by the host, the host drinks it, which is called making toasts .&amp;quot; &lt;br /&gt;
Order -- that is, order to drink. It's a fun game at a banquet. Its method is: by a person as an officer, according to certain rules of the order, the violation or according to the order of the drinker to drink.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 10:26, 29 September 2021 (UTC)&lt;br /&gt;
Here is the &amp;quot;jade&amp;quot; of Jade and Lin Daiyu &amp;quot;jade&amp;quot; into one--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:38, 29 September 2021 (UTC)&lt;br /&gt;
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==亚非语言文学	202120081550	张秋怡	女==&lt;br /&gt;
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家生子儿——奴仆在主子家生养的子女。清代规定家奴之子女必须为奴，世代如此。清·赵翼《陔馀丛考·家生子儿》：“奴仆在主家所生子，俗谓家生子。按《法苑珠林》记庸岭有大蛇为患，都尉令长求人家生婢子及有罪家女祭之，‘家生’之名见此。”(按：《法苑珠林》为唐·释道世撰。)又《汉书·陈胜传》“秦令少府章邯免骊山徒、人奴产子”唐·颜师古注：“奴产子，犹今人云家生奴也。”“家生奴”即“家生子”。可知“家生子”或“家生奴”之称至少在唐代已有。&lt;br /&gt;
卖倒的死契——指双方约定卖出后不能赎身、必须终生为奴的卖身契。 卖倒：犹“卖定”、“卖死”。不可变更或反悔之意。&lt;br /&gt;
禄蠹——禄：身居官爵，享受俸禄。 蠹：蛀虫。 “禄蠹”或本“国蠧”，出自《左传·襄公二十二年》：“不可使也，而傲使人，国之蠧也。”意思是本无治国之才而身居高位，便是国家的蛀虫。“禄蠹”与“国蠧” 的意思基本上一样，也是指身居高位、坐享国家俸禄而不干实事的官吏。&lt;br /&gt;
Offspring - The offspring of a servant in his master's house.The Qing Dynasty stipulated that the children of domestic slaves must be slaves,from generation to generation so.Qing · Zhaoyi “Gai Yu Cong Kao·The offspring of a servant in his master's house”：“A son born to a slave in his master's house is called a son of the family. according to the story in the Pearl forest of Fayuan that there was a snake in yongling, the commander ordered the family to give birth to maidservants and guilty family female sacrifice, the name of ‘Jia Sheng’ can be seen here.”(according to: the Pearl forest of Fayuan was written for Tang· Shi Daoshi.) Also in The Book of Han · Biography of Chen Sheng, “The Qin Dynasty sent Zhang Han to pardon those who had served in mount Lishan for crimes and the sons born to house slaves”Tang · Yan Shigu notes: “Slaves give birth to children, and is also slaves”.“family born slave” is “family born child”. It can be known that “family born son” or “family born slave” had been known at least in the Tang Dynasty.Dead deed of sale refers to the deed of sale in which both parties agree that they cannot redeem themselves and must be slaves for life. Sell down:  “sell it” and “sell it to death”.The meaning of not changing or repentance.“LU DU”-Lu：official status, enjoy the salary. Du：moth. “Ludu” or  “Guodu” from “Zuo Zhuan · Xianggong 22 years”: “do not make, but proud to make people the worm of the nation.It means that if you are in a high position without the ability to govern a country, you are the moth of the country. “Ludu” and “Guodu” basically the same meaning, also refers to a high position, enjoy the state salary and do not work officials.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 01:29, 29 September 2021 (UTC)&lt;br /&gt;
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:47, 11 October 2021 (UTC)&lt;br /&gt;
Annotation:&lt;br /&gt;
First:The common term for a son born to a slave in his master’s house is a family son.&lt;br /&gt;
Second:It means that if you are in a high position without the ability to govern a country,you are the moth of the country.&lt;br /&gt;
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==亚非语言文学	202120081524	王逸凡	女==&lt;br /&gt;
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明明德——头一个“明”为动词。彰明、弘扬之意。 明德：美德，至德，完美的道德。 语出《礼记·大学》：“大学之道，在明明德，在亲民，在止于至善。”意思是弘扬完美的道德。这里是指贾宝玉只肯定包括《大学》在内的《四书》(《论语》、《大学》、《中庸》、《孟子》)是正经书，其他书都要不得。&lt;br /&gt;
魔星——曹雪芹的原作为“天魔星”，显然是借用了佛家和道家的“天魔”之说。佛家说“天魔”为欲界第六天主。如《楞严经》卷九说：“或汝阴魔，或复天魔。”又《百喻经·小儿得大龟喻》说：“邪见外道，天魔波旬，及恶知识，而语之言，汝但极意六尘，恣情五欲，如我语者，必得解脱。”道家则说“天魔”为天上的魔怪。如《云笈七签》卷四说：“有经无符，则天魔害人。”这里的“魔星”则为冤家之意。&lt;br /&gt;
--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:55, 11 October 2021 (UTC)&lt;br /&gt;
Mingmingde-The first Ming is a verb which means obviousness, clearness or carrying forward and the word  Mingde means virtue,supreme virtue,perfect morality.TheBook of  Rites·Great learningsaid that The way of a university lies in being clear and virtuous,being close to the people and being perfect.It means to promote perfect morality.Jiabaoyu only affirmed The Four Books including Great learning.(Analects,Great Learning,The Doctrine of the Mean,Mencius) are the proper scriptures and the other books are not acceptable.&lt;br /&gt;
 Devil star—Cao Xueqin's original as heaven devil star apparently borrowed Buddhism and Taoism’s doctrine of heaven devil.Buddhists say that demons are the sixth god of desire.For example,volume 9 of the Surangama Sutra says, Either you cast shadows or you recover demons from heaven.And Buddhist parables said Evil sees the outside world,the sky is full of demons,and evil knowledge.But as you speak,you will be free from your desires.Taoism says that demons of heaven are demons in the sky.Such as Cloud gupta seven signs volume 4 said there is no sign,then the devil harm people.The devil star here is the meaning of enemy.&lt;br /&gt;
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Laba Porridge-Originated from what Buddhism calls &amp;quot;Buddha Bathing Day&amp;quot;. According to legend, Sakyamuni was born on the eighth day of the fourth month of the lunar calendar. Therefore, since the Han Dynasty, every Buddhist temple has held commemorative activities on this day. , &amp;quot;Buddhist Bathing Festival&amp;quot; or &amp;quot;Buddha Day&amp;quot;. &amp;quot;The Book of the Later Han Dynasty·Tao Qian Biography&amp;quot; said:&amp;quot; Every time Buddha baths, to provid alms and rice to the road.&amp;quot;In the Southern Dynasties Liang Zongmo's &amp;quot;Jingchu Sui Shi Ji&amp;quot; said: &amp;quot;April 8th, all monasteries Set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together. According to &amp;quot;The Biography of the Eminent Monk&amp;quot;: ‘On April 8th, to bathe the Buddha, use Duliang incense as blue water, tulip as red water, Qiulong incense as white water, aconite incense as yellow water, benzoin as black water, to infuse the top of the Buddha. ’&amp;quot;In the Song Dynasty, the day of Sakyamuni’s Buddhahood, the eighth day of the twelfth lunar month, was the &amp;quot;Buddha Bathing Day.&amp;quot; Every time this day, all the temples held commemorative activities, not only followed the alms, bathing Buddha and other items, but also added laba porridge, known as &amp;quot;Buddha Bathing Day.&amp;quot; &amp;quot;On the eighth day of the lunar New Year, three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called &amp;quot;laba porridge&amp;quot;. Since then every families also cooks porridge with fruit and miscellaneous ingredients. &amp;quot;Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:47, 11 October 2021 (UTC)&lt;br /&gt;
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Laba congee - Originated from a festival which calls “Buddha Bathing Day” in Buddhism. According to legend, Sakyamuni was born on the eighth of forth lunar month. Therefore, on this day, every Buddhist temple will hold activities since Han Dynasty. People will practice alms all over the place, and wash Buddha statues with water full of spices, which is called “Buddha Bathing Day”, “Buddha Bathing Festival” or “Buddha Buddhism Day”. “Book of Later Han Dynasty · Tao Qian Biography” said: “Every time Buddha baths, there are more drinking and rice to the homeless people. And Liang Zongmo, the author of “Jingchu Sui Shi Ji”, said: “April 8th, all monasteries set up a fast, bath the Buddha with five-color perfume, and make Longhua Hui together.”&lt;br /&gt;
According to “The Biography of the Eminent Monk”: “On April 8th, people use Duliang incense as blue water, Yujin incense as red water, Qiulong incense as white water, Fuzi incense as yellow water, and Anxi incense as black water, to infuse the top of the Buddha”. In Song Dynasty, the day when Sakyamuni became a Buddha, the eighth of twelfth lunar month, was the &amp;quot;Buddha Bathing Day.&amp;quot; On that day, all Buddhist temples held the activities which called “Buddha Bathing Activities”, not only followed the traditional items, but also added Laba congee. The folks also follow the example and eat Laba congee. We can see these things from “DongJingMengHualu·Volume Ten·December”, a book written by Meng in Song Dynasty: three or five monks and nuns in the streets chanted Buddha in teams. They would sit on a gold, bronze or wooden Buddha statue in a silver or bronze saro or a good basin. They would soak it in perfume and shower it with the branches of a tree and intended for the edification of the masses. The great monasteries served as bathing buddhas, and gave seven treasures and five flavors porridge and disciples, called ‘Laba congee’. Since then every families also cooks porridge with fruit and miscellaneous ingredients.” Since then, the phase has become a common practice, and it has not faded to this day.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:55, 11 October 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
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		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134465"/>
		<updated>2021-12-29T03:35:28Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Yinglian has been tortured by human traffickers for several years before she can finally get rid of it. Although Xue Pan is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renowr were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Xue wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. So he agreed. She said to Mrs. Wang privately, &amp;quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month， Hsueeh P'an came to be on intimate relations with all the young men among the kindred of the Chia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
&lt;br /&gt;
Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
&lt;br /&gt;
''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134464</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134464"/>
		<updated>2021-12-29T03:34:46Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
&lt;br /&gt;
教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
&lt;br /&gt;
“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
&lt;br /&gt;
Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Yinglian has been tortured by human traffickers for several years before she can finally get rid of it. Although Xue Pan is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renowr were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Xue wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. So he agreed. She said to Mrs. Wang privately, &amp;quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month， Hsueeh P'an came to be on intimate relations with all the young men among the kindred of the Chia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134462</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134462"/>
		<updated>2021-12-29T03:16:03Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Yinglian has been tortured by human traffickers for several years before she can finally get rid of it. Although Xue Pan is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renowr were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
&lt;br /&gt;
Aunt Xue wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. So he agreed. She said to Mrs. Wang privately, &amp;quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month， Hsueeh P'an came to be on intimate relations with all the young men among the kindred of the Chia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
&lt;br /&gt;
Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
&lt;br /&gt;
Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
&lt;br /&gt;
''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134076</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134076"/>
		<updated>2021-12-20T11:03:07Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
&lt;br /&gt;
闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
&lt;br /&gt;
宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
&lt;br /&gt;
==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
&lt;br /&gt;
宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
&lt;br /&gt;
Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
&lt;br /&gt;
‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
&lt;br /&gt;
==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
&lt;br /&gt;
==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
&lt;br /&gt;
黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
&lt;br /&gt;
==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
&lt;br /&gt;
宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
&lt;br /&gt;
After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
&lt;br /&gt;
吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
&lt;br /&gt;
The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
&lt;br /&gt;
如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
&lt;br /&gt;
And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of style. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134075</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134075"/>
		<updated>2021-12-20T11:02:25Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of style. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134073</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134073"/>
		<updated>2021-12-20T08:07:30Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of style. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134072</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134072"/>
		<updated>2021-12-20T08:06:50Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of style. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=133911</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=133911"/>
		<updated>2021-12-16T12:56:14Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received  his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
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He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw: two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=133910</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=133910"/>
		<updated>2021-12-16T12:51:05Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562 */&lt;/p&gt;
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&lt;div&gt;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]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received  his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
I saw: two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
泪光点点，娇喘微微。&lt;br /&gt;
&lt;br /&gt;
Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133096</id>
		<title>Aesth App EN 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133096"/>
		<updated>2021-12-14T13:42:44Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Abstract */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]&lt;br /&gt;
&lt;br /&gt;
Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
&lt;br /&gt;
=1 朱素珍:Appreciation and criticism of poetry translation ——A Psalm of Life =&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
&lt;br /&gt;
According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
&lt;br /&gt;
====2.1 What is poetry====&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:37, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 Principles of poetry translation====&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:38, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.3 What is poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:39, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.4 Principles of poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:40, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===3.Comparative analysis of different version of translation of poetry===&lt;br /&gt;
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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. &lt;br /&gt;
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.&lt;br /&gt;
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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. &lt;br /&gt;
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. &lt;br /&gt;
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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. &lt;br /&gt;
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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). &lt;br /&gt;
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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. &lt;br /&gt;
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     A Psalm of Life&lt;br /&gt;
&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
&lt;br /&gt;
Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
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In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
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Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
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Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
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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!”   &lt;br /&gt;
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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. &lt;br /&gt;
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The last stanza is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     &lt;br /&gt;
      生命的礼赞                                                  &lt;br /&gt;
别用悲伤的语调对我呻吟，                          &lt;br /&gt;
“人生不过是梦幻一场”！                            &lt;br /&gt;
因为沉睡中的灵魂已经死去，                        &lt;br /&gt;
万物并非它们显示的模样。                          &lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                                        &lt;br /&gt;
它们的终点决不是坟场；                            &lt;br /&gt;
“你来自尘土， 必归于尘土”；                        &lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       &lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             &lt;br /&gt;
既不是享乐， 也不是悲伤；                          &lt;br /&gt;
而是行动，为了每一个明天，                         &lt;br /&gt;
使我们比今天走得更远更长。                         &lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               &lt;br /&gt;
我们的心尽管英勇而坚强，                           &lt;br /&gt;
却仍像阵阵低沉的鼓声，                             &lt;br /&gt;
正朝着坟墓把哀乐敲响。                            &lt;br /&gt;
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在世界辽阔的战场上，                              &lt;br /&gt;
在生命的露宿的营地上，                             &lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     &lt;br /&gt;
要在战斗中当一名闯将！                             &lt;br /&gt;
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莫信托未来，不管它怎样欢畅！                      &lt;br /&gt;
让逝去的岁月将死者埋葬！                          &lt;br /&gt;
行动吧，就在活着的此刻行动！                      &lt;br /&gt;
胸内有红心，头顶有上苍！                          &lt;br /&gt;
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伟大的人物的生平把我们提醒，                                                &lt;br /&gt;
我们能使我们的一生变得高尚，                      &lt;br /&gt;
在离开人间时，也能让足印                          &lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    &lt;br /&gt;
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呵，足印！也许另一位弟兄，                        &lt;br /&gt;
当他航行在生命庄严的海洋上，                      &lt;br /&gt;
不幸遇难，看见了这些足印，                        &lt;br /&gt;
他就会使勇气重新增长。                            &lt;br /&gt;
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那么让我们振奋起来行动吧，                      &lt;br /&gt;
我们准备迎接任何命运的风浪；                      &lt;br /&gt;
永远要有所作为，不断追求，                       &lt;br /&gt;
学会劳动，也学会等待和期望。                     &lt;br /&gt;
               （黄新渠译）                                   &lt;br /&gt;
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译文二&lt;br /&gt;
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       生之颂&lt;br /&gt;
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别用悲切的诗句对我唱:&lt;br /&gt;
“人生只是虚幻的梦一场!”&lt;br /&gt;
因为昏睡的灵魂已死亡，&lt;br /&gt;
而事物不是看来那模样。&lt;br /&gt;
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人生多真切!它绝非虚度!&lt;br /&gt;
一抔黄土哪里会是它的归宿;&lt;br /&gt;
“你来自泥尘，得重归泥尘，”&lt;br /&gt;
这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们命定的终点和道路&lt;br /&gt;
既不是享乐，也不是悲苦；&lt;br /&gt;
行动吧;要让每一个明天&lt;br /&gt;
发现我们比今天走得远。&lt;br /&gt;
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学艺费光阴，时日去匆忙，&lt;br /&gt;
任我们的心勇敢又坚强，&lt;br /&gt;
依然像些蒙住的鼓——&lt;br /&gt;
敲打着哀乐走向那坟墓。&lt;br /&gt;
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在风云世界的广阔战场，&lt;br /&gt;
在人生征途的野宿营帐，&lt;br /&gt;
别像默默的牛羊任驱赶!&lt;br /&gt;
要争做英雄，能征惯战!&lt;br /&gt;
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将来再美好也别空指望!&lt;br /&gt;
让死的过去把死的埋葬!&lt;br /&gt;
干!在活生生的现在就干!&lt;br /&gt;
胸中是赤心，上帝在云端！&lt;br /&gt;
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伟人的生平向我们指出:&lt;br /&gt;
我们能使此生超群脱俗——&lt;br /&gt;
一朝逝去，时间的沙滩上&lt;br /&gt;
将留下我们的脚印行行。&lt;br /&gt;
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在庄严的生活之海航行，&lt;br /&gt;
也许有兄弟会遭到不幸，&lt;br /&gt;
会因为航船沉没而绝望——&lt;br /&gt;
但见那脚印，又变得顽强。&lt;br /&gt;
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让我们挺起身，行动起来，&lt;br /&gt;
凭对付任何的胸怀，&lt;br /&gt;
不断去收获，不断去追求;&lt;br /&gt;
永远在学着苦干和等候。&lt;br /&gt;
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           (黄杲忻译)&lt;br /&gt;
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译文三：&lt;br /&gt;
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      生之颂&lt;br /&gt;
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莫向我吟唱，哀戚之词&lt;br /&gt;
叹生如梦境，虚无所炽&lt;br /&gt;
灵魂之沉睡，恍若长辞&lt;br /&gt;
而世间万物，伪装如缁&lt;br /&gt;
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因孤坟荒土，非我命旨&lt;br /&gt;
因生之馥郁，真切如是&lt;br /&gt;
既生于尘滞，复归尘滞&lt;br /&gt;
而九天魂灵，长存如诗&lt;br /&gt;
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决不为欢声，抑或悲思&lt;br /&gt;
我生之所往，道长如斯&lt;br /&gt;
集快马长剑，日日疾驰&lt;br /&gt;
待明日细数，功成如此&lt;br /&gt;
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任艺业无涯，光阴飞逝&lt;br /&gt;
彼壮士之心，英勇无疵&lt;br /&gt;
奈战鼓哀亡，冢林墓石&lt;br /&gt;
怜其怨其殇，命魂所指&lt;br /&gt;
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观我生所在，浮华乱世&lt;br /&gt;
观风云乾坤，辽阔如帜&lt;br /&gt;
斯牛羊傀儡，安得其实&lt;br /&gt;
唯浴血烽火，终成其事&lt;br /&gt;
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纵欢娱无尽，未来未至&lt;br /&gt;
任亡者葬弃，过往已失&lt;br /&gt;
上苍行其道，我执其旨&lt;br /&gt;
即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
伟人之不朽，可为典示&lt;br /&gt;
倾我之所能，亦足至此&lt;br /&gt;
反肉身凡胎，终有一死&lt;br /&gt;
然我将留痕，流光之坻&lt;br /&gt;
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望生命之海，风急浪蚀&lt;br /&gt;
念天行无常，苦难游子&lt;br /&gt;
而前人足迹，必将明示&lt;br /&gt;
纵满盘皆输，壮志不失&lt;br /&gt;
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集生之全力，勿候勿止&lt;br /&gt;
有备则无惧，命运之矢&lt;br /&gt;
独精我所行，逐我所适&lt;br /&gt;
且耕且守望，丰收之时&lt;br /&gt;
           （张瑶译）&lt;br /&gt;
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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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
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For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
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In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
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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. &lt;br /&gt;
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In the fourth paragraph, “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”； 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. &lt;br /&gt;
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In the fifth paragraph, “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. &lt;br /&gt;
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In the sixth paragraph, “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！”；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.&lt;br /&gt;
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In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
===4.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:41, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===5.Reference===&lt;br /&gt;
&lt;br /&gt;
黄杲炘. 英国抒情诗100首 [M]. 上海：上海译文出版社， 1986.&lt;br /&gt;
&lt;br /&gt;
老舍. 谈翻译 [A]. 翻译研究论文集（1949—1983）[C]. 北京：外语教学与研究出版社，1984.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2006.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2010（8).&lt;br /&gt;
&lt;br /&gt;
廖四平、张瑜. 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]. 中国翻译，2007（2).&lt;br /&gt;
&lt;br /&gt;
宁会勤. 从《多佛海岸》浅析诗歌翻译 [J].读与写杂志，2009 (9).&lt;br /&gt;
&lt;br /&gt;
杨晓荣. 翻译批评导论 [M]. 北京：中国对外翻译出版公司, 2005.&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133094</id>
		<title>Aesth App EN 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133094"/>
		<updated>2021-12-14T13:41:51Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 4.Conclusion */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]&lt;br /&gt;
&lt;br /&gt;
Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
&lt;br /&gt;
=1 朱素珍:Appreciation and criticism of poetry translation ——A Psalm of Life =&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
&lt;br /&gt;
According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
&lt;br /&gt;
====2.1 What is poetry====&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:37, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 Principles of poetry translation====&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:38, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.3 What is poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:39, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.4 Principles of poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:40, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===3.Comparative analysis of different version of translation of poetry===&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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). &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
     A Psalm of Life&lt;br /&gt;
&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
&lt;br /&gt;
Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
&lt;br /&gt;
In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
&lt;br /&gt;
Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
&lt;br /&gt;
Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
&lt;br /&gt;
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!”   &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
The last stanza is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     &lt;br /&gt;
      生命的礼赞                                                  &lt;br /&gt;
别用悲伤的语调对我呻吟，                          &lt;br /&gt;
“人生不过是梦幻一场”！                            &lt;br /&gt;
因为沉睡中的灵魂已经死去，                        &lt;br /&gt;
万物并非它们显示的模样。                          &lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                                        &lt;br /&gt;
它们的终点决不是坟场；                            &lt;br /&gt;
“你来自尘土， 必归于尘土”；                        &lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       &lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             &lt;br /&gt;
既不是享乐， 也不是悲伤；                          &lt;br /&gt;
而是行动，为了每一个明天，                         &lt;br /&gt;
使我们比今天走得更远更长。                         &lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               &lt;br /&gt;
我们的心尽管英勇而坚强，                           &lt;br /&gt;
却仍像阵阵低沉的鼓声，                             &lt;br /&gt;
正朝着坟墓把哀乐敲响。                            &lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                              &lt;br /&gt;
在生命的露宿的营地上，                             &lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     &lt;br /&gt;
要在战斗中当一名闯将！                             &lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      &lt;br /&gt;
让逝去的岁月将死者埋葬！                          &lt;br /&gt;
行动吧，就在活着的此刻行动！                      &lt;br /&gt;
胸内有红心，头顶有上苍！                          &lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                                                &lt;br /&gt;
我们能使我们的一生变得高尚，                      &lt;br /&gt;
在离开人间时，也能让足印                          &lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    &lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        &lt;br /&gt;
当他航行在生命庄严的海洋上，                      &lt;br /&gt;
不幸遇难，看见了这些足印，                        &lt;br /&gt;
他就会使勇气重新增长。                            &lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                      &lt;br /&gt;
我们准备迎接任何命运的风浪；                      &lt;br /&gt;
永远要有所作为，不断追求，                       &lt;br /&gt;
学会劳动，也学会等待和期望。                     &lt;br /&gt;
               （黄新渠译）                                   &lt;br /&gt;
&lt;br /&gt;
译文二&lt;br /&gt;
&lt;br /&gt;
       生之颂&lt;br /&gt;
&lt;br /&gt;
别用悲切的诗句对我唱:&lt;br /&gt;
“人生只是虚幻的梦一场!”&lt;br /&gt;
因为昏睡的灵魂已死亡，&lt;br /&gt;
而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
人生多真切!它绝非虚度!&lt;br /&gt;
一抔黄土哪里会是它的归宿;&lt;br /&gt;
“你来自泥尘，得重归泥尘，”&lt;br /&gt;
这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们命定的终点和道路&lt;br /&gt;
既不是享乐，也不是悲苦；&lt;br /&gt;
行动吧;要让每一个明天&lt;br /&gt;
发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
学艺费光阴，时日去匆忙，&lt;br /&gt;
任我们的心勇敢又坚强，&lt;br /&gt;
依然像些蒙住的鼓——&lt;br /&gt;
敲打着哀乐走向那坟墓。&lt;br /&gt;
&lt;br /&gt;
在风云世界的广阔战场，&lt;br /&gt;
在人生征途的野宿营帐，&lt;br /&gt;
别像默默的牛羊任驱赶!&lt;br /&gt;
要争做英雄，能征惯战!&lt;br /&gt;
&lt;br /&gt;
将来再美好也别空指望!&lt;br /&gt;
让死的过去把死的埋葬!&lt;br /&gt;
干!在活生生的现在就干!&lt;br /&gt;
胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟人的生平向我们指出:&lt;br /&gt;
我们能使此生超群脱俗——&lt;br /&gt;
一朝逝去，时间的沙滩上&lt;br /&gt;
将留下我们的脚印行行。&lt;br /&gt;
&lt;br /&gt;
在庄严的生活之海航行，&lt;br /&gt;
也许有兄弟会遭到不幸，&lt;br /&gt;
会因为航船沉没而绝望——&lt;br /&gt;
但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
让我们挺起身，行动起来，&lt;br /&gt;
凭对付任何的胸怀，&lt;br /&gt;
不断去收获，不断去追求;&lt;br /&gt;
永远在学着苦干和等候。&lt;br /&gt;
&lt;br /&gt;
           (黄杲忻译)&lt;br /&gt;
                                &lt;br /&gt;
&lt;br /&gt;
译文三：&lt;br /&gt;
             &lt;br /&gt;
      生之颂&lt;br /&gt;
&lt;br /&gt;
莫向我吟唱，哀戚之词&lt;br /&gt;
叹生如梦境，虚无所炽&lt;br /&gt;
灵魂之沉睡，恍若长辞&lt;br /&gt;
而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
因孤坟荒土，非我命旨&lt;br /&gt;
因生之馥郁，真切如是&lt;br /&gt;
既生于尘滞，复归尘滞&lt;br /&gt;
而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
决不为欢声，抑或悲思&lt;br /&gt;
我生之所往，道长如斯&lt;br /&gt;
集快马长剑，日日疾驰&lt;br /&gt;
待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
任艺业无涯，光阴飞逝&lt;br /&gt;
彼壮士之心，英勇无疵&lt;br /&gt;
奈战鼓哀亡，冢林墓石&lt;br /&gt;
怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
观我生所在，浮华乱世&lt;br /&gt;
观风云乾坤，辽阔如帜&lt;br /&gt;
斯牛羊傀儡，安得其实&lt;br /&gt;
唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
纵欢娱无尽，未来未至&lt;br /&gt;
任亡者葬弃，过往已失&lt;br /&gt;
上苍行其道，我执其旨&lt;br /&gt;
即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
伟人之不朽，可为典示&lt;br /&gt;
倾我之所能，亦足至此&lt;br /&gt;
反肉身凡胎，终有一死&lt;br /&gt;
然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
望生命之海，风急浪蚀&lt;br /&gt;
念天行无常，苦难游子&lt;br /&gt;
而前人足迹，必将明示&lt;br /&gt;
纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
集生之全力，勿候勿止&lt;br /&gt;
有备则无惧，命运之矢&lt;br /&gt;
独精我所行，逐我所适&lt;br /&gt;
且耕且守望，丰收之时&lt;br /&gt;
           （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
===4.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:41, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===5.Reference===&lt;br /&gt;
&lt;br /&gt;
黄杲炘. 英国抒情诗100首 [M]. 上海：上海译文出版社， 1986.&lt;br /&gt;
&lt;br /&gt;
老舍. 谈翻译 [A]. 翻译研究论文集（1949—1983）[C]. 北京：外语教学与研究出版社，1984.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2006.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2010（8).&lt;br /&gt;
&lt;br /&gt;
廖四平、张瑜. 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]. 中国翻译，2007（2).&lt;br /&gt;
&lt;br /&gt;
宁会勤. 从《多佛海岸》浅析诗歌翻译 [J].读与写杂志，2009 (9).&lt;br /&gt;
&lt;br /&gt;
杨晓荣. 翻译批评导论 [M]. 北京：中国对外翻译出版公司, 2005.&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
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		<title>Aesth App EN 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133093"/>
		<updated>2021-12-14T13:40:51Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 2.4 Principles of poetry translation appreciation and criticism */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]&lt;br /&gt;
&lt;br /&gt;
Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
&lt;br /&gt;
=1 朱素珍:Appreciation and criticism of poetry translation ——A Psalm of Life =&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
&lt;br /&gt;
According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
&lt;br /&gt;
====2.1 What is poetry====&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:37, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 Principles of poetry translation====&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:38, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.3 What is poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:39, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.4 Principles of poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:40, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===3.Comparative analysis of different version of translation of poetry===&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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). &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
     A Psalm of Life&lt;br /&gt;
&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
&lt;br /&gt;
Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
&lt;br /&gt;
In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
&lt;br /&gt;
Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
&lt;br /&gt;
Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
&lt;br /&gt;
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!”   &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
The last stanza is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     &lt;br /&gt;
      生命的礼赞                                                  &lt;br /&gt;
别用悲伤的语调对我呻吟，                          &lt;br /&gt;
“人生不过是梦幻一场”！                            &lt;br /&gt;
因为沉睡中的灵魂已经死去，                        &lt;br /&gt;
万物并非它们显示的模样。                          &lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                                        &lt;br /&gt;
它们的终点决不是坟场；                            &lt;br /&gt;
“你来自尘土， 必归于尘土”；                        &lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       &lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             &lt;br /&gt;
既不是享乐， 也不是悲伤；                          &lt;br /&gt;
而是行动，为了每一个明天，                         &lt;br /&gt;
使我们比今天走得更远更长。                         &lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               &lt;br /&gt;
我们的心尽管英勇而坚强，                           &lt;br /&gt;
却仍像阵阵低沉的鼓声，                             &lt;br /&gt;
正朝着坟墓把哀乐敲响。                            &lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                              &lt;br /&gt;
在生命的露宿的营地上，                             &lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     &lt;br /&gt;
要在战斗中当一名闯将！                             &lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      &lt;br /&gt;
让逝去的岁月将死者埋葬！                          &lt;br /&gt;
行动吧，就在活着的此刻行动！                      &lt;br /&gt;
胸内有红心，头顶有上苍！                          &lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                                                &lt;br /&gt;
我们能使我们的一生变得高尚，                      &lt;br /&gt;
在离开人间时，也能让足印                          &lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    &lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        &lt;br /&gt;
当他航行在生命庄严的海洋上，                      &lt;br /&gt;
不幸遇难，看见了这些足印，                        &lt;br /&gt;
他就会使勇气重新增长。                            &lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                      &lt;br /&gt;
我们准备迎接任何命运的风浪；                      &lt;br /&gt;
永远要有所作为，不断追求，                       &lt;br /&gt;
学会劳动，也学会等待和期望。                     &lt;br /&gt;
               （黄新渠译）                                   &lt;br /&gt;
&lt;br /&gt;
译文二&lt;br /&gt;
&lt;br /&gt;
       生之颂&lt;br /&gt;
&lt;br /&gt;
别用悲切的诗句对我唱:&lt;br /&gt;
“人生只是虚幻的梦一场!”&lt;br /&gt;
因为昏睡的灵魂已死亡，&lt;br /&gt;
而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
人生多真切!它绝非虚度!&lt;br /&gt;
一抔黄土哪里会是它的归宿;&lt;br /&gt;
“你来自泥尘，得重归泥尘，”&lt;br /&gt;
这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们命定的终点和道路&lt;br /&gt;
既不是享乐，也不是悲苦；&lt;br /&gt;
行动吧;要让每一个明天&lt;br /&gt;
发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
学艺费光阴，时日去匆忙，&lt;br /&gt;
任我们的心勇敢又坚强，&lt;br /&gt;
依然像些蒙住的鼓——&lt;br /&gt;
敲打着哀乐走向那坟墓。&lt;br /&gt;
&lt;br /&gt;
在风云世界的广阔战场，&lt;br /&gt;
在人生征途的野宿营帐，&lt;br /&gt;
别像默默的牛羊任驱赶!&lt;br /&gt;
要争做英雄，能征惯战!&lt;br /&gt;
&lt;br /&gt;
将来再美好也别空指望!&lt;br /&gt;
让死的过去把死的埋葬!&lt;br /&gt;
干!在活生生的现在就干!&lt;br /&gt;
胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟人的生平向我们指出:&lt;br /&gt;
我们能使此生超群脱俗——&lt;br /&gt;
一朝逝去，时间的沙滩上&lt;br /&gt;
将留下我们的脚印行行。&lt;br /&gt;
&lt;br /&gt;
在庄严的生活之海航行，&lt;br /&gt;
也许有兄弟会遭到不幸，&lt;br /&gt;
会因为航船沉没而绝望——&lt;br /&gt;
但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
让我们挺起身，行动起来，&lt;br /&gt;
凭对付任何的胸怀，&lt;br /&gt;
不断去收获，不断去追求;&lt;br /&gt;
永远在学着苦干和等候。&lt;br /&gt;
&lt;br /&gt;
           (黄杲忻译)&lt;br /&gt;
                                &lt;br /&gt;
&lt;br /&gt;
译文三：&lt;br /&gt;
             &lt;br /&gt;
      生之颂&lt;br /&gt;
&lt;br /&gt;
莫向我吟唱，哀戚之词&lt;br /&gt;
叹生如梦境，虚无所炽&lt;br /&gt;
灵魂之沉睡，恍若长辞&lt;br /&gt;
而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
因孤坟荒土，非我命旨&lt;br /&gt;
因生之馥郁，真切如是&lt;br /&gt;
既生于尘滞，复归尘滞&lt;br /&gt;
而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
决不为欢声，抑或悲思&lt;br /&gt;
我生之所往，道长如斯&lt;br /&gt;
集快马长剑，日日疾驰&lt;br /&gt;
待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
任艺业无涯，光阴飞逝&lt;br /&gt;
彼壮士之心，英勇无疵&lt;br /&gt;
奈战鼓哀亡，冢林墓石&lt;br /&gt;
怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
观我生所在，浮华乱世&lt;br /&gt;
观风云乾坤，辽阔如帜&lt;br /&gt;
斯牛羊傀儡，安得其实&lt;br /&gt;
唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
纵欢娱无尽，未来未至&lt;br /&gt;
任亡者葬弃，过往已失&lt;br /&gt;
上苍行其道，我执其旨&lt;br /&gt;
即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
伟人之不朽，可为典示&lt;br /&gt;
倾我之所能，亦足至此&lt;br /&gt;
反肉身凡胎，终有一死&lt;br /&gt;
然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
望生命之海，风急浪蚀&lt;br /&gt;
念天行无常，苦难游子&lt;br /&gt;
而前人足迹，必将明示&lt;br /&gt;
纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
集生之全力，勿候勿止&lt;br /&gt;
有备则无惧，命运之矢&lt;br /&gt;
独精我所行，逐我所适&lt;br /&gt;
且耕且守望，丰收之时&lt;br /&gt;
           （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
===4.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.&lt;br /&gt;
&lt;br /&gt;
===5.Reference===&lt;br /&gt;
&lt;br /&gt;
黄杲炘. 英国抒情诗100首 [M]. 上海：上海译文出版社， 1986.&lt;br /&gt;
&lt;br /&gt;
老舍. 谈翻译 [A]. 翻译研究论文集（1949—1983）[C]. 北京：外语教学与研究出版社，1984.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2006.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2010（8).&lt;br /&gt;
&lt;br /&gt;
廖四平、张瑜. 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]. 中国翻译，2007（2).&lt;br /&gt;
&lt;br /&gt;
宁会勤. 从《多佛海岸》浅析诗歌翻译 [J].读与写杂志，2009 (9).&lt;br /&gt;
&lt;br /&gt;
杨晓荣. 翻译批评导论 [M]. 北京：中国对外翻译出版公司, 2005.&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133092</id>
		<title>Aesth App EN 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133092"/>
		<updated>2021-12-14T13:39:54Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 2.3 What is poetry translation appreciation and criticism */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]&lt;br /&gt;
&lt;br /&gt;
Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
&lt;br /&gt;
=1 朱素珍:Appreciation and criticism of poetry translation ——A Psalm of Life =&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
&lt;br /&gt;
According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
&lt;br /&gt;
====2.1 What is poetry====&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:37, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 Principles of poetry translation====&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:38, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.3 What is poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:39, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.4 Principles of poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===3.Comparative analysis of different version of translation of poetry===&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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). &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
     A Psalm of Life&lt;br /&gt;
&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
&lt;br /&gt;
Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
&lt;br /&gt;
In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
&lt;br /&gt;
Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
&lt;br /&gt;
Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
&lt;br /&gt;
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!”   &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
The last stanza is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     &lt;br /&gt;
      生命的礼赞                                                  &lt;br /&gt;
别用悲伤的语调对我呻吟，                          &lt;br /&gt;
“人生不过是梦幻一场”！                            &lt;br /&gt;
因为沉睡中的灵魂已经死去，                        &lt;br /&gt;
万物并非它们显示的模样。                          &lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                                        &lt;br /&gt;
它们的终点决不是坟场；                            &lt;br /&gt;
“你来自尘土， 必归于尘土”；                        &lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       &lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             &lt;br /&gt;
既不是享乐， 也不是悲伤；                          &lt;br /&gt;
而是行动，为了每一个明天，                         &lt;br /&gt;
使我们比今天走得更远更长。                         &lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               &lt;br /&gt;
我们的心尽管英勇而坚强，                           &lt;br /&gt;
却仍像阵阵低沉的鼓声，                             &lt;br /&gt;
正朝着坟墓把哀乐敲响。                            &lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                              &lt;br /&gt;
在生命的露宿的营地上，                             &lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     &lt;br /&gt;
要在战斗中当一名闯将！                             &lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      &lt;br /&gt;
让逝去的岁月将死者埋葬！                          &lt;br /&gt;
行动吧，就在活着的此刻行动！                      &lt;br /&gt;
胸内有红心，头顶有上苍！                          &lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                                                &lt;br /&gt;
我们能使我们的一生变得高尚，                      &lt;br /&gt;
在离开人间时，也能让足印                          &lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    &lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        &lt;br /&gt;
当他航行在生命庄严的海洋上，                      &lt;br /&gt;
不幸遇难，看见了这些足印，                        &lt;br /&gt;
他就会使勇气重新增长。                            &lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                      &lt;br /&gt;
我们准备迎接任何命运的风浪；                      &lt;br /&gt;
永远要有所作为，不断追求，                       &lt;br /&gt;
学会劳动，也学会等待和期望。                     &lt;br /&gt;
               （黄新渠译）                                   &lt;br /&gt;
&lt;br /&gt;
译文二&lt;br /&gt;
&lt;br /&gt;
       生之颂&lt;br /&gt;
&lt;br /&gt;
别用悲切的诗句对我唱:&lt;br /&gt;
“人生只是虚幻的梦一场!”&lt;br /&gt;
因为昏睡的灵魂已死亡，&lt;br /&gt;
而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
人生多真切!它绝非虚度!&lt;br /&gt;
一抔黄土哪里会是它的归宿;&lt;br /&gt;
“你来自泥尘，得重归泥尘，”&lt;br /&gt;
这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们命定的终点和道路&lt;br /&gt;
既不是享乐，也不是悲苦；&lt;br /&gt;
行动吧;要让每一个明天&lt;br /&gt;
发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
学艺费光阴，时日去匆忙，&lt;br /&gt;
任我们的心勇敢又坚强，&lt;br /&gt;
依然像些蒙住的鼓——&lt;br /&gt;
敲打着哀乐走向那坟墓。&lt;br /&gt;
&lt;br /&gt;
在风云世界的广阔战场，&lt;br /&gt;
在人生征途的野宿营帐，&lt;br /&gt;
别像默默的牛羊任驱赶!&lt;br /&gt;
要争做英雄，能征惯战!&lt;br /&gt;
&lt;br /&gt;
将来再美好也别空指望!&lt;br /&gt;
让死的过去把死的埋葬!&lt;br /&gt;
干!在活生生的现在就干!&lt;br /&gt;
胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟人的生平向我们指出:&lt;br /&gt;
我们能使此生超群脱俗——&lt;br /&gt;
一朝逝去，时间的沙滩上&lt;br /&gt;
将留下我们的脚印行行。&lt;br /&gt;
&lt;br /&gt;
在庄严的生活之海航行，&lt;br /&gt;
也许有兄弟会遭到不幸，&lt;br /&gt;
会因为航船沉没而绝望——&lt;br /&gt;
但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
让我们挺起身，行动起来，&lt;br /&gt;
凭对付任何的胸怀，&lt;br /&gt;
不断去收获，不断去追求;&lt;br /&gt;
永远在学着苦干和等候。&lt;br /&gt;
&lt;br /&gt;
           (黄杲忻译)&lt;br /&gt;
                                &lt;br /&gt;
&lt;br /&gt;
译文三：&lt;br /&gt;
             &lt;br /&gt;
      生之颂&lt;br /&gt;
&lt;br /&gt;
莫向我吟唱，哀戚之词&lt;br /&gt;
叹生如梦境，虚无所炽&lt;br /&gt;
灵魂之沉睡，恍若长辞&lt;br /&gt;
而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
因孤坟荒土，非我命旨&lt;br /&gt;
因生之馥郁，真切如是&lt;br /&gt;
既生于尘滞，复归尘滞&lt;br /&gt;
而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
决不为欢声，抑或悲思&lt;br /&gt;
我生之所往，道长如斯&lt;br /&gt;
集快马长剑，日日疾驰&lt;br /&gt;
待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
任艺业无涯，光阴飞逝&lt;br /&gt;
彼壮士之心，英勇无疵&lt;br /&gt;
奈战鼓哀亡，冢林墓石&lt;br /&gt;
怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
观我生所在，浮华乱世&lt;br /&gt;
观风云乾坤，辽阔如帜&lt;br /&gt;
斯牛羊傀儡，安得其实&lt;br /&gt;
唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
纵欢娱无尽，未来未至&lt;br /&gt;
任亡者葬弃，过往已失&lt;br /&gt;
上苍行其道，我执其旨&lt;br /&gt;
即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
伟人之不朽，可为典示&lt;br /&gt;
倾我之所能，亦足至此&lt;br /&gt;
反肉身凡胎，终有一死&lt;br /&gt;
然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
望生命之海，风急浪蚀&lt;br /&gt;
念天行无常，苦难游子&lt;br /&gt;
而前人足迹，必将明示&lt;br /&gt;
纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
集生之全力，勿候勿止&lt;br /&gt;
有备则无惧，命运之矢&lt;br /&gt;
独精我所行，逐我所适&lt;br /&gt;
且耕且守望，丰收之时&lt;br /&gt;
           （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
===4.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.&lt;br /&gt;
&lt;br /&gt;
===5.Reference===&lt;br /&gt;
&lt;br /&gt;
黄杲炘. 英国抒情诗100首 [M]. 上海：上海译文出版社， 1986.&lt;br /&gt;
&lt;br /&gt;
老舍. 谈翻译 [A]. 翻译研究论文集（1949—1983）[C]. 北京：外语教学与研究出版社，1984.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2006.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2010（8).&lt;br /&gt;
&lt;br /&gt;
廖四平、张瑜. 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]. 中国翻译，2007（2).&lt;br /&gt;
&lt;br /&gt;
宁会勤. 从《多佛海岸》浅析诗歌翻译 [J].读与写杂志，2009 (9).&lt;br /&gt;
&lt;br /&gt;
杨晓荣. 翻译批评导论 [M]. 北京：中国对外翻译出版公司, 2005.&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133090</id>
		<title>Aesth App EN 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133090"/>
		<updated>2021-12-14T13:38:47Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 2.2 Principles of poetry translation */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]&lt;br /&gt;
&lt;br /&gt;
Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
&lt;br /&gt;
=1 朱素珍:Appreciation and criticism of poetry translation ——A Psalm of Life =&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
&lt;br /&gt;
According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
&lt;br /&gt;
====2.1 What is poetry====&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:37, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 Principles of poetry translation====&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）&lt;br /&gt;
&lt;br /&gt;
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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:38, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.3 What is poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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====2.4 Principles of poetry translation appreciation and criticism====&lt;br /&gt;
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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.&lt;br /&gt;
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===3.Comparative analysis of different version of translation of poetry===&lt;br /&gt;
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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. &lt;br /&gt;
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.&lt;br /&gt;
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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. &lt;br /&gt;
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. &lt;br /&gt;
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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. &lt;br /&gt;
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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). &lt;br /&gt;
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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. &lt;br /&gt;
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     A Psalm of Life&lt;br /&gt;
&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
&lt;br /&gt;
Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
&lt;br /&gt;
In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
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Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
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Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
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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!”   &lt;br /&gt;
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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. &lt;br /&gt;
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The last stanza is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     &lt;br /&gt;
      生命的礼赞                                                  &lt;br /&gt;
别用悲伤的语调对我呻吟，                          &lt;br /&gt;
“人生不过是梦幻一场”！                            &lt;br /&gt;
因为沉睡中的灵魂已经死去，                        &lt;br /&gt;
万物并非它们显示的模样。                          &lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                                        &lt;br /&gt;
它们的终点决不是坟场；                            &lt;br /&gt;
“你来自尘土， 必归于尘土”；                        &lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       &lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             &lt;br /&gt;
既不是享乐， 也不是悲伤；                          &lt;br /&gt;
而是行动，为了每一个明天，                         &lt;br /&gt;
使我们比今天走得更远更长。                         &lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               &lt;br /&gt;
我们的心尽管英勇而坚强，                           &lt;br /&gt;
却仍像阵阵低沉的鼓声，                             &lt;br /&gt;
正朝着坟墓把哀乐敲响。                            &lt;br /&gt;
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在世界辽阔的战场上，                              &lt;br /&gt;
在生命的露宿的营地上，                             &lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     &lt;br /&gt;
要在战斗中当一名闯将！                             &lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      &lt;br /&gt;
让逝去的岁月将死者埋葬！                          &lt;br /&gt;
行动吧，就在活着的此刻行动！                      &lt;br /&gt;
胸内有红心，头顶有上苍！                          &lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                                                &lt;br /&gt;
我们能使我们的一生变得高尚，                      &lt;br /&gt;
在离开人间时，也能让足印                          &lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    &lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        &lt;br /&gt;
当他航行在生命庄严的海洋上，                      &lt;br /&gt;
不幸遇难，看见了这些足印，                        &lt;br /&gt;
他就会使勇气重新增长。                            &lt;br /&gt;
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那么让我们振奋起来行动吧，                      &lt;br /&gt;
我们准备迎接任何命运的风浪；                      &lt;br /&gt;
永远要有所作为，不断追求，                       &lt;br /&gt;
学会劳动，也学会等待和期望。                     &lt;br /&gt;
               （黄新渠译）                                   &lt;br /&gt;
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译文二&lt;br /&gt;
&lt;br /&gt;
       生之颂&lt;br /&gt;
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别用悲切的诗句对我唱:&lt;br /&gt;
“人生只是虚幻的梦一场!”&lt;br /&gt;
因为昏睡的灵魂已死亡，&lt;br /&gt;
而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
人生多真切!它绝非虚度!&lt;br /&gt;
一抔黄土哪里会是它的归宿;&lt;br /&gt;
“你来自泥尘，得重归泥尘，”&lt;br /&gt;
这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们命定的终点和道路&lt;br /&gt;
既不是享乐，也不是悲苦；&lt;br /&gt;
行动吧;要让每一个明天&lt;br /&gt;
发现我们比今天走得远。&lt;br /&gt;
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学艺费光阴，时日去匆忙，&lt;br /&gt;
任我们的心勇敢又坚强，&lt;br /&gt;
依然像些蒙住的鼓——&lt;br /&gt;
敲打着哀乐走向那坟墓。&lt;br /&gt;
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在风云世界的广阔战场，&lt;br /&gt;
在人生征途的野宿营帐，&lt;br /&gt;
别像默默的牛羊任驱赶!&lt;br /&gt;
要争做英雄，能征惯战!&lt;br /&gt;
&lt;br /&gt;
将来再美好也别空指望!&lt;br /&gt;
让死的过去把死的埋葬!&lt;br /&gt;
干!在活生生的现在就干!&lt;br /&gt;
胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟人的生平向我们指出:&lt;br /&gt;
我们能使此生超群脱俗——&lt;br /&gt;
一朝逝去，时间的沙滩上&lt;br /&gt;
将留下我们的脚印行行。&lt;br /&gt;
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在庄严的生活之海航行，&lt;br /&gt;
也许有兄弟会遭到不幸，&lt;br /&gt;
会因为航船沉没而绝望——&lt;br /&gt;
但见那脚印，又变得顽强。&lt;br /&gt;
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让我们挺起身，行动起来，&lt;br /&gt;
凭对付任何的胸怀，&lt;br /&gt;
不断去收获，不断去追求;&lt;br /&gt;
永远在学着苦干和等候。&lt;br /&gt;
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           (黄杲忻译)&lt;br /&gt;
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译文三：&lt;br /&gt;
             &lt;br /&gt;
      生之颂&lt;br /&gt;
&lt;br /&gt;
莫向我吟唱，哀戚之词&lt;br /&gt;
叹生如梦境，虚无所炽&lt;br /&gt;
灵魂之沉睡，恍若长辞&lt;br /&gt;
而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
因孤坟荒土，非我命旨&lt;br /&gt;
因生之馥郁，真切如是&lt;br /&gt;
既生于尘滞，复归尘滞&lt;br /&gt;
而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
决不为欢声，抑或悲思&lt;br /&gt;
我生之所往，道长如斯&lt;br /&gt;
集快马长剑，日日疾驰&lt;br /&gt;
待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
任艺业无涯，光阴飞逝&lt;br /&gt;
彼壮士之心，英勇无疵&lt;br /&gt;
奈战鼓哀亡，冢林墓石&lt;br /&gt;
怜其怨其殇，命魂所指&lt;br /&gt;
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观我生所在，浮华乱世&lt;br /&gt;
观风云乾坤，辽阔如帜&lt;br /&gt;
斯牛羊傀儡，安得其实&lt;br /&gt;
唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
纵欢娱无尽，未来未至&lt;br /&gt;
任亡者葬弃，过往已失&lt;br /&gt;
上苍行其道，我执其旨&lt;br /&gt;
即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
伟人之不朽，可为典示&lt;br /&gt;
倾我之所能，亦足至此&lt;br /&gt;
反肉身凡胎，终有一死&lt;br /&gt;
然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
望生命之海，风急浪蚀&lt;br /&gt;
念天行无常，苦难游子&lt;br /&gt;
而前人足迹，必将明示&lt;br /&gt;
纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
集生之全力，勿候勿止&lt;br /&gt;
有备则无惧，命运之矢&lt;br /&gt;
独精我所行，逐我所适&lt;br /&gt;
且耕且守望，丰收之时&lt;br /&gt;
           （张瑶译）&lt;br /&gt;
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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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
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For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
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In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
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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. &lt;br /&gt;
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In the fourth paragraph, “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”； 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. &lt;br /&gt;
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In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
===4.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.&lt;br /&gt;
&lt;br /&gt;
===5.Reference===&lt;br /&gt;
&lt;br /&gt;
黄杲炘. 英国抒情诗100首 [M]. 上海：上海译文出版社， 1986.&lt;br /&gt;
&lt;br /&gt;
老舍. 谈翻译 [A]. 翻译研究论文集（1949—1983）[C]. 北京：外语教学与研究出版社，1984.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2006.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2010（8).&lt;br /&gt;
&lt;br /&gt;
廖四平、张瑜. 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]. 中国翻译，2007（2).&lt;br /&gt;
&lt;br /&gt;
宁会勤. 从《多佛海岸》浅析诗歌翻译 [J].读与写杂志，2009 (9).&lt;br /&gt;
&lt;br /&gt;
杨晓荣. 翻译批评导论 [M]. 北京：中国对外翻译出版公司, 2005.&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133086</id>
		<title>Aesth App EN 1</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_1&amp;diff=133086"/>
		<updated>2021-12-14T13:37:23Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* 2.1 What is poetry */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]&lt;br /&gt;
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Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
&lt;br /&gt;
=1 朱素珍:Appreciation and criticism of poetry translation ——A Psalm of Life =&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
&lt;br /&gt;
According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
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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.&lt;br /&gt;
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===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
&lt;br /&gt;
====2.1 What is poetry====&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
&lt;br /&gt;
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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 13:37, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====2.2 Principles of poetry translation====&lt;br /&gt;
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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”.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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）&lt;br /&gt;
&lt;br /&gt;
====2.3 What is poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
====2.4 Principles of poetry translation appreciation and criticism====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===3.Comparative analysis of different version of translation of poetry===&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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). &lt;br /&gt;
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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. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
     A Psalm of Life&lt;br /&gt;
&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
&lt;br /&gt;
Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
&lt;br /&gt;
In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
&lt;br /&gt;
Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
&lt;br /&gt;
Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
&lt;br /&gt;
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!”   &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
The last stanza is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     &lt;br /&gt;
      生命的礼赞                                                  &lt;br /&gt;
别用悲伤的语调对我呻吟，                          &lt;br /&gt;
“人生不过是梦幻一场”！                            &lt;br /&gt;
因为沉睡中的灵魂已经死去，                        &lt;br /&gt;
万物并非它们显示的模样。                          &lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                                        &lt;br /&gt;
它们的终点决不是坟场；                            &lt;br /&gt;
“你来自尘土， 必归于尘土”；                        &lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       &lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             &lt;br /&gt;
既不是享乐， 也不是悲伤；                          &lt;br /&gt;
而是行动，为了每一个明天，                         &lt;br /&gt;
使我们比今天走得更远更长。                         &lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               &lt;br /&gt;
我们的心尽管英勇而坚强，                           &lt;br /&gt;
却仍像阵阵低沉的鼓声，                             &lt;br /&gt;
正朝着坟墓把哀乐敲响。                            &lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                              &lt;br /&gt;
在生命的露宿的营地上，                             &lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     &lt;br /&gt;
要在战斗中当一名闯将！                             &lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      &lt;br /&gt;
让逝去的岁月将死者埋葬！                          &lt;br /&gt;
行动吧，就在活着的此刻行动！                      &lt;br /&gt;
胸内有红心，头顶有上苍！                          &lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                                                &lt;br /&gt;
我们能使我们的一生变得高尚，                      &lt;br /&gt;
在离开人间时，也能让足印                          &lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    &lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        &lt;br /&gt;
当他航行在生命庄严的海洋上，                      &lt;br /&gt;
不幸遇难，看见了这些足印，                        &lt;br /&gt;
他就会使勇气重新增长。                            &lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                      &lt;br /&gt;
我们准备迎接任何命运的风浪；                      &lt;br /&gt;
永远要有所作为，不断追求，                       &lt;br /&gt;
学会劳动，也学会等待和期望。                     &lt;br /&gt;
               （黄新渠译）                                   &lt;br /&gt;
&lt;br /&gt;
译文二&lt;br /&gt;
&lt;br /&gt;
       生之颂&lt;br /&gt;
&lt;br /&gt;
别用悲切的诗句对我唱:&lt;br /&gt;
“人生只是虚幻的梦一场!”&lt;br /&gt;
因为昏睡的灵魂已死亡，&lt;br /&gt;
而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
人生多真切!它绝非虚度!&lt;br /&gt;
一抔黄土哪里会是它的归宿;&lt;br /&gt;
“你来自泥尘，得重归泥尘，”&lt;br /&gt;
这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们命定的终点和道路&lt;br /&gt;
既不是享乐，也不是悲苦；&lt;br /&gt;
行动吧;要让每一个明天&lt;br /&gt;
发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
学艺费光阴，时日去匆忙，&lt;br /&gt;
任我们的心勇敢又坚强，&lt;br /&gt;
依然像些蒙住的鼓——&lt;br /&gt;
敲打着哀乐走向那坟墓。&lt;br /&gt;
&lt;br /&gt;
在风云世界的广阔战场，&lt;br /&gt;
在人生征途的野宿营帐，&lt;br /&gt;
别像默默的牛羊任驱赶!&lt;br /&gt;
要争做英雄，能征惯战!&lt;br /&gt;
&lt;br /&gt;
将来再美好也别空指望!&lt;br /&gt;
让死的过去把死的埋葬!&lt;br /&gt;
干!在活生生的现在就干!&lt;br /&gt;
胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟人的生平向我们指出:&lt;br /&gt;
我们能使此生超群脱俗——&lt;br /&gt;
一朝逝去，时间的沙滩上&lt;br /&gt;
将留下我们的脚印行行。&lt;br /&gt;
&lt;br /&gt;
在庄严的生活之海航行，&lt;br /&gt;
也许有兄弟会遭到不幸，&lt;br /&gt;
会因为航船沉没而绝望——&lt;br /&gt;
但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
让我们挺起身，行动起来，&lt;br /&gt;
凭对付任何的胸怀，&lt;br /&gt;
不断去收获，不断去追求;&lt;br /&gt;
永远在学着苦干和等候。&lt;br /&gt;
&lt;br /&gt;
           (黄杲忻译)&lt;br /&gt;
                                &lt;br /&gt;
&lt;br /&gt;
译文三：&lt;br /&gt;
             &lt;br /&gt;
      生之颂&lt;br /&gt;
&lt;br /&gt;
莫向我吟唱，哀戚之词&lt;br /&gt;
叹生如梦境，虚无所炽&lt;br /&gt;
灵魂之沉睡，恍若长辞&lt;br /&gt;
而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
因孤坟荒土，非我命旨&lt;br /&gt;
因生之馥郁，真切如是&lt;br /&gt;
既生于尘滞，复归尘滞&lt;br /&gt;
而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
决不为欢声，抑或悲思&lt;br /&gt;
我生之所往，道长如斯&lt;br /&gt;
集快马长剑，日日疾驰&lt;br /&gt;
待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
任艺业无涯，光阴飞逝&lt;br /&gt;
彼壮士之心，英勇无疵&lt;br /&gt;
奈战鼓哀亡，冢林墓石&lt;br /&gt;
怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
观我生所在，浮华乱世&lt;br /&gt;
观风云乾坤，辽阔如帜&lt;br /&gt;
斯牛羊傀儡，安得其实&lt;br /&gt;
唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
纵欢娱无尽，未来未至&lt;br /&gt;
任亡者葬弃，过往已失&lt;br /&gt;
上苍行其道，我执其旨&lt;br /&gt;
即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
伟人之不朽，可为典示&lt;br /&gt;
倾我之所能，亦足至此&lt;br /&gt;
反肉身凡胎，终有一死&lt;br /&gt;
然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
望生命之海，风急浪蚀&lt;br /&gt;
念天行无常，苦难游子&lt;br /&gt;
而前人足迹，必将明示&lt;br /&gt;
纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
集生之全力，勿候勿止&lt;br /&gt;
有备则无惧，命运之矢&lt;br /&gt;
独精我所行，逐我所适&lt;br /&gt;
且耕且守望，丰收之时&lt;br /&gt;
           （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
===4.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
&lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.Besides, poetry translation appreciation and cticism deserve tremendous efforts to construct a systematic system which makes it is possible that more translators can do the appreciation much more scientifically and effectively. Moreover, the learning of translation appriciation and criticism is conducive to the better translation in the background of cross-cultural social melting pot environment.&lt;br /&gt;
&lt;br /&gt;
===5.Reference===&lt;br /&gt;
&lt;br /&gt;
黄杲炘. 英国抒情诗100首 [M]. 上海：上海译文出版社， 1986.&lt;br /&gt;
&lt;br /&gt;
老舍. 谈翻译 [A]. 翻译研究论文集（1949—1983）[C]. 北京：外语教学与研究出版社，1984.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2006.&lt;br /&gt;
&lt;br /&gt;
李明. 翻译批评与鉴赏 [M]. 武汉：武汉大学出版社，2010（8).&lt;br /&gt;
&lt;br /&gt;
廖四平、张瑜. 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]. 中国翻译，2007（2).&lt;br /&gt;
&lt;br /&gt;
宁会勤. 从《多佛海岸》浅析诗歌翻译 [J].读与写杂志，2009 (9).&lt;br /&gt;
&lt;br /&gt;
杨晓荣. 翻译批评导论 [M]. 北京：中国对外翻译出版公司, 2005.&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133068</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133068"/>
		<updated>2021-12-14T13:23:13Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* translation of Proverbs */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
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Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.(Zhang Xiaomin,2015:21)&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
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Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.(Xian Zhang,2011:41-42)&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.(Lan Jiarong,2012:11)&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Yu Lei,2010:50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
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[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
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[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
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[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
&lt;br /&gt;
[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133066</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133066"/>
		<updated>2021-12-14T13:22:18Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* treatment methods of cultural phenomena */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.(Zhang Xiaomin,2015:21)&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.(Xian Zhang,2011:41-42)&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.(Lan Jiarong,2012:11)&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
&lt;br /&gt;
[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133064</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133064"/>
		<updated>2021-12-14T13:21:27Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* character description */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.(Zhang Xiaomin,2015:21)&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.(Xian Zhang,2011:41-42)&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.(Lan Jiarong,2012:11)&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
&lt;br /&gt;
[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133062</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133062"/>
		<updated>2021-12-14T13:20:13Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Introduction to Natsume Soseki and I'm a cat */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.(Zhang Xiaomin,2015:21)&lt;br /&gt;
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====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.(Xian Zhang,2011:41-42)&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.(Lan Jiarong,2012:11)&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
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[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133057</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133057"/>
		<updated>2021-12-14T13:18:01Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Translation background and purpose of the three versions */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
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====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
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====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
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Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
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In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.(Xian Zhang,2011:41-42)&lt;br /&gt;
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====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
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In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.(Lan Jiarong,2012:11)&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
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Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
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Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
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[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133054</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133054"/>
		<updated>2021-12-14T13:16:43Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Translation background and purpose of the three versions */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
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Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
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====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
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====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
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After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
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Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
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===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
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Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
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====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
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According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
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====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
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Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
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Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
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In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.(Xian Zhang,2011:41-42)&lt;br /&gt;
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====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
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China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
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In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
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Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.(Lan Jiarong,2012)&lt;br /&gt;
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===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
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Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
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Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
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Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
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Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
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====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
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Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
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Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
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Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
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Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
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The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
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====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
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Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
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Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
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Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
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Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
&lt;br /&gt;
[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133052</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133052"/>
		<updated>2021-12-14T13:14:40Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Selection of the translation of I am a cat */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.(Xian Zhang,2011:41-42)&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
&lt;br /&gt;
[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133047</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133047"/>
		<updated>2021-12-14T13:09:09Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* A study on the original works and translation of I am a cat */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.(Wang Zheng,2007:89-91)&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
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Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
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[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133043</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133043"/>
		<updated>2021-12-14T13:06:42Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Newmark’s Translation Theory--semantic translation and communicative translation */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)(Yu Zhen,2000.72-76)&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
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Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
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====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
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According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
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====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
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Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
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Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
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In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
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====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
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China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
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In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
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Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
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===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
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Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
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Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
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Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
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Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
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====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
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Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
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Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
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Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
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Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
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The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
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====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
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Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
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Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
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Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
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Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
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“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
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===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
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[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
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[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
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[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
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[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
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[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
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[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133041</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133041"/>
		<updated>2021-12-14T13:04:51Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* An introduction to Newmark 's translation theory */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
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Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
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====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
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====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
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After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
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Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.(Written by Jeremy Munday translated by Li Defeng,2007)&lt;br /&gt;
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===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
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Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
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====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
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According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
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====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
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Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
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Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
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In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
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====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
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China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
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In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
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Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
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===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
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Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
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Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
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Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
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Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
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====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
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Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
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Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
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Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
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Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
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The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
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====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
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Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
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Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
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Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
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Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
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“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
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===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
&lt;br /&gt;
[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133032</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133032"/>
		<updated>2021-12-14T12:57:14Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Reference */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;br /&gt;
&lt;br /&gt;
[10] Natsume Soseki 夏目漱石(1995).『吾輩は猫である』[M]I am a cat.東京：集英社文庫 Tokyo: Jiying agency Library,37,48,79&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133030</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133030"/>
		<updated>2021-12-14T12:52:18Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* translation of Proverbs */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（Natsume Soseki,1995:79）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老鼠”。(Written by Natsume Soseki translated by Yu Lei,2010.50-51).&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Zhenying,2011:51-52). &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。(Written by Natsume Soseki translated by Liu Ziqian,2015:52-53)&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133026</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133026"/>
		<updated>2021-12-14T12:41:34Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* treatment methods of cultural phenomena */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（Natsume Soseki,1995:37） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。(Written by Natsume Soseki translated by Yu Lei,2010:49) &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。(Written by Natsume Soseki translated by Liu Zhenying,2011:50) &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。(Written by Natsume Soseki translated by Liu Ziqian,2015:51)&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat's Chapter 5）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。 &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133024</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133024"/>
		<updated>2021-12-14T12:36:23Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* character description */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
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Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
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====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
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According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
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====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
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In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
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===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
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Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（Natsume Soseki,1995:58）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。（Written by Natsume Soseki translated by Yu Lei,2010:48）&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。(Written by Natsume Soseki translated by Liu Zhenying,2011:49)&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。(Written by Natsume Soseki translated by Liu Ziqian,2015:50)&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
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====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（From I'm a cat ’s Chapter 5） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。 &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat's Chapter 5）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。 &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133012</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133012"/>
		<updated>2021-12-14T11:56:32Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Reference */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
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Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
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====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
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====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
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After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
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Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
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===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
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Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
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====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
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According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
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====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
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Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
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Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
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It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
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In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
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====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
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China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
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Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
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Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
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In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
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Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
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===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
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Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（From I'm a cat ’s Chapter 9）&lt;br /&gt;
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Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。 &lt;br /&gt;
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Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。&lt;br /&gt;
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Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。&lt;br /&gt;
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Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
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====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
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Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（From I'm a cat ’s Chapter 5） &lt;br /&gt;
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Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。 &lt;br /&gt;
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Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。 &lt;br /&gt;
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Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。&lt;br /&gt;
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The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
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====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
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Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat's Chapter 5）&lt;br /&gt;
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Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。&lt;br /&gt;
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Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。 &lt;br /&gt;
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Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。&lt;br /&gt;
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“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] Written by Jeremy Munday 杰里米·芒迪著 translated by Li Defeng 李德凤 译(2007).翻译学导论———理论与实践[M]Introduction to translation studies -- Theory and Practice.北京:商务印书馆 Beijing: Commercial Press.&lt;br /&gt;
&lt;br /&gt;
[2] Yu Zhen 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J] On literal translation and free translation from the development of Newmark's translation theory.汕头大学学报Journal of Shantou University,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] Wang Zheng 王政(2007).语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J]Comments on the translation under the care of semantic translation and Communicative Translation -- a brief comment on the two versions of &amp;quot;Yuanchun provincial relatives&amp;quot; in a dream of Red Mansions.黄河大学学报 Journal of Yellow River University,1:89-91. &lt;br /&gt;
&lt;br /&gt;
[4] Xian Zhang 线展(2011).论纽马克理论在中日文学作品翻译中的适用性[J] On the applicability of Newmark's theory in the translation of Chinese and Japanese literary works.文学语言学研究 Literary linguistics research,8：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] Lan Jiarong 竺家荣(2012).漫谈日本文学翻译[N] On the translation of Japanese Literature.文艺报外国文艺 Literature and art newspaper foreign literature and art,11. &lt;br /&gt;
&lt;br /&gt;
[6] Written by Natsume Soseki 夏目漱石著 translated by Yu Lei 于雷 译(2010).《我是猫》[M]I am a cat.南京：译林出版社 Nanjing: Yilin publishing house,48-51&lt;br /&gt;
&lt;br /&gt;
[7] Written by Natsume Soseki 夏目漱石著 translated by Liu Zhenying 刘振瀛译(2011).《我是猫》[M]I am a cat.上海：上海译文出版社 Shanghai: Shanghai Translation Publishing House,49-52&lt;br /&gt;
&lt;br /&gt;
[8] Written by Natsume Soseki 夏目漱石著 translated by Liu Ziqian 刘子倩译（2015).《我是猫》[M]I am a cat.台湾：大牌出版 Taiwan: big name Publishing,50-53.&lt;br /&gt;
&lt;br /&gt;
[9] Zhang Xiaomin 张晓敏（2015）.非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 A study on the translation of Zhang Xiaomin's nonverbal (expression) expressions - centered on the two Chinese versions of I am a cat.南京：南京航空航天大学 Nanjing: Nanjing University of Aeronautics and Astronautics,21&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133002</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=133002"/>
		<updated>2021-12-14T10:58:31Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Reference */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（From I'm a cat ’s Chapter 9）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（From I'm a cat ’s Chapter 5） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。 &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat's Chapter 5）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。 &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] (英)杰里米·芒迪.翻译学导论———理论与实践[M].李德凤,译.北京:商务印书馆,2007. &lt;br /&gt;
&lt;br /&gt;
[2] 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J].汕头大学学报,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] 王政.语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J].黄河大学 学报,2007(1):89-91. &lt;br /&gt;
&lt;br /&gt;
[4] 线展.论纽马克理论在中日文学作品翻译中的适用性[J].文学语言学研究,2011(8)：41-42. &lt;br /&gt;
&lt;br /&gt;
[5] 竺家荣.漫谈日本文学翻译[N].文艺报外国文艺, 2012-04-16(11). &lt;br /&gt;
&lt;br /&gt;
[6] Peter Newmark Approaches to Translation [M].上海：上海外语教育出版社，2001.&lt;br /&gt;
&lt;br /&gt;
[7] 夏目漱石著 于雷译《我是猫》[M]南京：译林出版社,2010-11.&lt;br /&gt;
&lt;br /&gt;
[8] 夏目漱石著 刘振瀛译《我是猫》[M]上海：上海译文出版社,2011-01.&lt;br /&gt;
&lt;br /&gt;
[9] 夏目漱石著 刘子倩译《我是猫》[M]台湾：大牌出版,2015-6.&lt;br /&gt;
&lt;br /&gt;
[10] 张晓敏 非语言（表情）表达文翻译研究一《我是猫》两中译本为中心 南京：南京航空航天大学,2015:21&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=132773</id>
		<title>Aesth App EN 2</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Aesth_App_EN_2&amp;diff=132773"/>
		<updated>2021-12-14T05:01:14Z</updated>

		<summary type="html">&lt;p&gt;Zou Yueli: /* Reference */&lt;/p&gt;
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&lt;div&gt;=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===摘要===&lt;br /&gt;
纽马克在《翻译问题探索》一书中提出了“语义翻译和交际翻译”这两个概念，他坚持认为，不同的文本类型要采用不同的翻译方法。文学翻译是用不同的文学语言再现原作艺术形象和艺术风格, 以期译文读者能获得与原文读者同样的启发和感受，是一种艺术化的翻译方法。 文章从纽马克的“语义翻译”和“交际翻译”入手，对夏目漱石的作品《我是猫》的中文译本进行对比分析，同时印证纽马克理论可以运用到日本文学作品的汉译标准上来。 &lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication,''I am a cat'' has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the similar inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and ''I am a cat'', the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of ''I am a cat'', collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method was used to make a comparative analysis of the translation.&lt;br /&gt;
&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and You bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（From I'm a cat ’s Chapter 9）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。&lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。&lt;br /&gt;
&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（From I'm a cat ’s Chapter 5） &lt;br /&gt;
&lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。 &lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。 &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。&lt;br /&gt;
&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
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====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
&lt;br /&gt;
Example 3:「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat's Chapter 5）&lt;br /&gt;
&lt;br /&gt;
Liu Zhenying's translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。&lt;br /&gt;
&lt;br /&gt;
Yu Lei's translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。 &lt;br /&gt;
&lt;br /&gt;
Liu Ziqian's translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。&lt;br /&gt;
&lt;br /&gt;
“女賢しゅうして”'s the original sentence “女さかしゅうして牛売りそこなう”.It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] (英)杰里米·芒迪.翻译学导论———理论与实践[M].李德凤,译.北京:商务印书馆,2007. &lt;br /&gt;
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[2] 俞真(2000).从纽马克翻译理论的发展谈直译与意译[J].汕头大学学报,2:72-76. &lt;br /&gt;
&lt;br /&gt;
[3] 王政.语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J].黄河大学 学报,2007(1):89-91. &lt;br /&gt;
&lt;br /&gt;
[4] 线展.论纽马克理论在中日文学作品翻译中的适用性[J].文学语言学研究,2011(8)：41-42. &lt;br /&gt;
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[5] 竺家荣.漫谈日本文学翻译[N].文艺报外国文艺, 2012-04-16(11). &lt;br /&gt;
&lt;br /&gt;
[6] Peter Newmark Approaches to Translation [M].上海：上海外语教育出版社，2001.&lt;br /&gt;
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[7] 夏目漱石著 于雷译《我是猫》南京：译林出版社,2010-11.&lt;br /&gt;
&lt;br /&gt;
[8] 夏目漱石著 刘振瀛译《我是猫》上海：上海译文出版社,2011-01.&lt;br /&gt;
&lt;br /&gt;
[9] 夏目漱石著 刘子倩译《我是猫》台湾：大牌出版,2015-6.&lt;br /&gt;
&lt;br /&gt;
[10] 张晓敏 非语言（表情）表达文翻译研究一《我是猫》两中译本为中心南京：南京航空航天大学,2015:21&lt;/div&gt;</summary>
		<author><name>Zou Yueli</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Aesthetic_Appreciation_of_Literary_Translations&amp;diff=132767</id>
		<title>Aesthetic Appreciation of Literary Translations</title>
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		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory */&lt;/p&gt;
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&lt;div&gt;'''Aesthetic Appreciation of Literary Translations'''&lt;br /&gt;
Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
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=1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life&lt;br /&gt;
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===摘要===&lt;br /&gt;
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It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===Key words===&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
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According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
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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.&lt;br /&gt;
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===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
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===2.1What is poetry===&lt;br /&gt;
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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. &lt;br /&gt;
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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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
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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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
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===2.2 principles of poetry translation===&lt;br /&gt;
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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”.&lt;br /&gt;
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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)&lt;br /&gt;
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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（Liao Siping, Zhang Yu, 2007: 53）. 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.&lt;br /&gt;
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===2.3What is poetry translation appreciation and criticism ===&lt;br /&gt;
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Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.&lt;br /&gt;
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===2.4 principles of poetry translation appreciation and criticism===&lt;br /&gt;
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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.&lt;br /&gt;
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===3.Comparative analysis of different version of translation of poetry ===&lt;br /&gt;
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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. &lt;br /&gt;
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.&lt;br /&gt;
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Two parts included in this part. Apart from the appreciation and criticism of English poetry, then the analysis of Chinese poetry would be presented. English poetry is like an endless sea in which different kind of poems devote themselves into the poetry creation. Because of the limited writing space, I will choose some of the famous and significant English poetries and their 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. &lt;br /&gt;
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 refers to the various versions of translations. Different from 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. &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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 Hu Bu Shang Shu of Xian Feng period in 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). &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
A Psalm of Life&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
&lt;br /&gt;
Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
&lt;br /&gt;
In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
&lt;br /&gt;
Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
&lt;br /&gt;
Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
&lt;br /&gt;
This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine paragraphs, and each part has four 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 paragraphs mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”   &lt;br /&gt;
&lt;br /&gt;
From the third paragraph to the sixth paragraph, 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 paragraph 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. &lt;br /&gt;
&lt;br /&gt;
The last paragraph is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     译文二： &lt;br /&gt;
      生命的礼赞                                           生之颂                   &lt;br /&gt;
别用悲伤的语调对我呻吟，                          别用悲切的诗句对我唱：&lt;br /&gt;
“人生不过是梦幻一场”！                             “人生只是虚幻的梦一场！”&lt;br /&gt;
因为沉睡中的灵魂已经死去，                        因为昏睡的灵魂已死亡，&lt;br /&gt;
万物并非它们显示的模样。                          而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                      人生多真切！它绝非虚度！                      &lt;br /&gt;
它们的终点决不是坟场；                            一抔黄土哪里会是它的归宿；&lt;br /&gt;
“你来自尘土， 必归于尘土”；                        “你来自泥尘，得重归泥尘，”&lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             我们命定的终点和道路&lt;br /&gt;
既不是享乐， 也不是悲伤；                          既不是享乐，也不是悲苦；&lt;br /&gt;
而是行动，为了每一个明天，                         行动吧；要让每一个明天&lt;br /&gt;
使我们比今天走得更远更长。                         发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               学艺费光阴，时日去匆忙，&lt;br /&gt;
我们的心尽管英勇而坚强，                           任我们的心勇敢又坚强，&lt;br /&gt;
却仍像阵阵低沉的鼓声，                             依然像一些蒙住的 鼓——&lt;br /&gt;
正朝着坟墓把哀乐敲响。                             敲打着哀乐走向那坟墓。&lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                               在风云世界的广阔战场，&lt;br /&gt;
在生命的露宿的营地上，                             在人生征途的野宿营帐，&lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     别像默默的牛羊任驱赶！&lt;br /&gt;
要在战斗中当一名闯将！                             要争做英雄，能征惯战！&lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      将来再美好也别空指望！&lt;br /&gt;
让逝去的岁月将死者埋葬！                          让死的过去把死的埋葬！&lt;br /&gt;
行动吧，就在活着的此刻行动！                      干！在活生生的现在就干！&lt;br /&gt;
胸内有红心，头顶有上苍！                          胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                      伟人的生平向我们指出：                          &lt;br /&gt;
我们能使我们的一生变得高尚，                      我们能使此生超群脱俗——&lt;br /&gt;
在离开人间时，也能让足印                          一朝逝去，时间的沙滩上&lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    将留下我们的脚印行行。&lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        在庄严的生活之海航行，&lt;br /&gt;
当他航行在生命庄严的海洋上，                      也许有兄弟会遭到不幸，&lt;br /&gt;
不幸遇难，看见了这些足印，                        会因为航船沉没而绝望——&lt;br /&gt;
他就会使勇气重新增长。                            但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                        让我们挺起身，行动起来，&lt;br /&gt;
我们准备迎接任何命运的风浪；                      凭对付任何的胸怀，&lt;br /&gt;
永远要有所作为，不断追求，                        不断去收获，不断去追求；&lt;br /&gt;
学会劳动，也学会等待和期望。                      永远在学着苦干和等候。&lt;br /&gt;
               （黄新渠译）                                     （黄果忻译）&lt;br /&gt;
&lt;br /&gt;
                                 译文三&lt;br /&gt;
                                 生之颂&lt;br /&gt;
                        莫向我吟唱，哀戚之词&lt;br /&gt;
                        叹生如梦境，虚无所炽&lt;br /&gt;
                        灵魂之沉睡，恍若长辞&lt;br /&gt;
                        而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
                        因孤坟荒土，非我命旨&lt;br /&gt;
                        因生之馥郁，真切如是&lt;br /&gt;
                        既生于尘滞，复归尘滞&lt;br /&gt;
                        而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
                        决不为欢声，抑或悲思&lt;br /&gt;
                        我生之所往，道长如斯&lt;br /&gt;
                        集快马长剑，日日疾驰&lt;br /&gt;
                        待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
                        任艺业无涯，光阴飞逝&lt;br /&gt;
                        彼壮士之心，英勇无疵&lt;br /&gt;
                        奈战鼓哀亡，冢林墓石&lt;br /&gt;
                        怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
                        观我生所在，浮华乱世&lt;br /&gt;
                        观风云乾坤，辽阔如帜&lt;br /&gt;
                        斯牛羊傀儡，安得其实&lt;br /&gt;
                        唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
                        纵欢娱无尽，未来未至&lt;br /&gt;
                        任亡者葬弃，过往已失&lt;br /&gt;
                        上苍行其道，我执其旨&lt;br /&gt;
                        即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
                        伟人之不朽，可为典示&lt;br /&gt;
                        倾我之所能，亦足至此&lt;br /&gt;
                        反肉身凡胎，终有一死&lt;br /&gt;
                        然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
                        望生命之海，风急浪蚀&lt;br /&gt;
                        念天行无常，苦难游子&lt;br /&gt;
                        而前人足迹，必将明示&lt;br /&gt;
                        纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
                        集生之全力，勿候勿止&lt;br /&gt;
                        有备则无惧，命运之矢&lt;br /&gt;
                        独精我所行，逐我所适&lt;br /&gt;
                        且耕且守望，丰收之时&lt;br /&gt;
                                  （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===4.conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.&lt;br /&gt;
&lt;br /&gt;
=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
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纽马克翻译理论视角下《我是猫》的不同中译本比较研究&lt;br /&gt;
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邹岳丽 Zou Yueli Hunan Normal University, China&lt;br /&gt;
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[[Aesth_App_EN_2]]&lt;br /&gt;
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=邱婷婷：On Xu Yuanchong’s poetry translation from the theory of  “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =&lt;br /&gt;
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[[Aesth_App_EN_3]]&lt;br /&gt;
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=吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =&lt;br /&gt;
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吴映红 Wu Yinghong,Hunan Normal University,China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.&lt;br /&gt;
===Key words===&lt;br /&gt;
Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation&lt;br /&gt;
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===题目===&lt;br /&gt;
从翻译美学的角度对《雪国》的审美再现进行比较研究&lt;br /&gt;
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===摘要===&lt;br /&gt;
《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。&lt;br /&gt;
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===1.Inteoduction===&lt;br /&gt;
==1.1Background of the study==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
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==1.2Purpose and significance of the study==&lt;br /&gt;
Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &amp;quot;Snow Country&amp;quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.&lt;br /&gt;
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Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
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==1.3Prior Research==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
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==1.4Research Methodology==&lt;br /&gt;
Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).&lt;br /&gt;
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===2.on the aesthetics of translation===&lt;br /&gt;
==2.1Aesthetic origins of translation==&lt;br /&gt;
Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.&lt;br /&gt;
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]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
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==2.2Definition of Aesthetics of Translation==&lt;br /&gt;
In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.&lt;br /&gt;
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Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern&lt;br /&gt;
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==2.3Aesthetic Theory of Translation==&lt;br /&gt;
In aesthetics, the &amp;quot;aesthetic subject&amp;quot; refers to the aesthetic person, while the &amp;quot;aesthetic body&amp;quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.&lt;br /&gt;
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According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &amp;quot;emotion&amp;quot;, &amp;quot;knowledge&amp;quot;, &amp;quot;o&amp;quot; and &amp;quot;will&amp;quot;. The so-called &amp;quot;emotion&amp;quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &amp;quot;Knowledge&amp;quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &amp;quot;knowledge&amp;quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &amp;quot;Talent&amp;quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &amp;quot;will&amp;quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &amp;quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.&lt;br /&gt;
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Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
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===3 The Land of Snow and its Chinese translation===&lt;br /&gt;
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==3.1Yasunari Kawabata and The Land of Snow==&lt;br /&gt;
Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &amp;quot;mourning&amp;quot;. The term &amp;quot;mourning&amp;quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &amp;quot;mourning&amp;quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &amp;quot;mourning&amp;quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &amp;quot;mourning&amp;quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &amp;quot;mourning&amp;quot; in the process of translation and make the readers feel the same way.&lt;br /&gt;
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Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &amp;quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &amp;quot;No Generation,&amp;quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.&lt;br /&gt;
The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &amp;quot;Eastern-style&amp;quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &amp;quot;New Sensation Movement&amp;quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &amp;quot;tried to deny it and exclude it. &amp;quot; However, in his middle age, Kawabata found that he &amp;quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.&lt;br /&gt;
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Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &amp;quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&amp;quot; &amp;quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&amp;quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. &lt;br /&gt;
&amp;quot;This idea of emptiness of Yasunari Kawabata, who &amp;quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&amp;quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &amp;quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &amp;quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&amp;quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. &lt;br /&gt;
Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.&lt;br /&gt;
例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。&lt;br /&gt;
叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。&lt;br /&gt;
高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。&lt;br /&gt;
韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。&lt;br /&gt;
林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。&lt;br /&gt;
&amp;quot;くっと&amp;quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.&lt;br /&gt;
For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &amp;quot;suddenly bent&amp;quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &amp;quot;curling up&amp;quot; and consider that translating the word &amp;quot;くっと&amp;quot; as it is would overlap semantically with the word &amp;quot;身をすくめる&amp;quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &amp;quot;suddenly curling up&amp;quot; with &amp;quot;making a strong effort to curl up&amp;quot;. The Korean translation replaces the word &amp;quot;suddenly curled up&amp;quot; with &amp;quot;hunched up&amp;quot;, while the Lin translation simply omits the word and says &amp;quot;curled up&amp;quot;. These translations are precisely communicative translations adapted to Chinese expression habits.&lt;br /&gt;
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Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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==3.2The aesthetic value of The Land of Snow==&lt;br /&gt;
Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.&lt;br /&gt;
Although the storyline of &amp;quot;Snow Country&amp;quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.&lt;br /&gt;
In &amp;quot;Snow Country&amp;quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &amp;quot;Snow Country&amp;quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.&lt;br /&gt;
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Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.&lt;br /&gt;
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Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
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==3.3The Chinese translation of The Land of Snow==&lt;br /&gt;
Yasunari Kawa's masterpiece &amp;quot;Snow Country&amp;quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.&lt;br /&gt;
In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.&lt;br /&gt;
When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.&lt;br /&gt;
&amp;quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&amp;quot;&lt;br /&gt;
Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.&lt;br /&gt;
The subject &amp;quot;THE TRAIN&amp;quot; appears in the first sentence of the English translation, but there is no subject corresponding to &amp;quot;TRAIN&amp;quot; in the Japanese original. In the first sentence of the English translation, the subject &amp;quot;the train&amp;quot; appears.&lt;br /&gt;
In the original Japanese work, there is no subject corresponding to &amp;quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &amp;quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &amp;quot;went through&amp;quot; and &amp;quot;entered&amp;quot;, but instead, the first and second sentences are set as &amp;quot;When it exited, it was ......&amp;quot;. In the original story, there are no such expressions as &amp;quot;skillfully&amp;quot; and &amp;quot;entered,&amp;quot; but instead, the preamble and postamble are set to &amp;quot;exited and .......&amp;quot; In essence, &amp;quot;exited and ......&amp;quot; and &amp;quot;exited and ......&amp;quot; are completely different narratives, and represent completely different cognitive systems.&lt;br /&gt;
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Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.&lt;br /&gt;
例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。&lt;br /&gt;
译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。&lt;br /&gt;
In Japanese vocabulary, &amp;quot;onomatopoeic words&amp;quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &amp;quot;Snow Country&amp;quot;, which has a strong sense of image, is difficult because of the mimetic word &amp;quot;Gosho&amp;quot;. Ye Weiqu translates it as &amp;quot;Kirikou&amp;quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &amp;quot;ごそごそ&amp;quot; is explained in the &amp;quot;Dictionary of Chinese Language&amp;quot; as &amp;quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&amp;quot;, which means The word &amp;quot;ごそごそ&amp;quot; means both sound and action, and Ye Weiqu's translation is the best. The word &amp;quot;叽里哐当&amp;quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined&lt;br /&gt;
&lt;br /&gt;
Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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===4.Conclusion===&lt;br /&gt;
Snow Country  is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&amp;quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.&lt;br /&gt;
The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.&lt;br /&gt;
Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &amp;quot;material mourning&amp;quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.&lt;br /&gt;
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===5.References===&lt;br /&gt;
[1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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[2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.&lt;br /&gt;
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[3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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[4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
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[5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
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[6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
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[7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.&lt;br /&gt;
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[8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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[9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
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		<author><name>Zou Yueli</name></author>
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		<title>Aesthetic Appreciation of Literary Translations</title>
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		<summary type="html">&lt;p&gt;Zou Yueli: /* 邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory */&lt;/p&gt;
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&lt;div&gt;'''Aesthetic Appreciation of Literary Translations'''&lt;br /&gt;
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=1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life&lt;br /&gt;
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===摘要===&lt;br /&gt;
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It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===Key words===&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
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Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
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According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
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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.&lt;br /&gt;
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===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
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===2.1What is poetry===&lt;br /&gt;
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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. &lt;br /&gt;
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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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
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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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
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===2.2 principles of poetry translation===&lt;br /&gt;
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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”.&lt;br /&gt;
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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)&lt;br /&gt;
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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（Liao Siping, Zhang Yu, 2007: 53）. 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.&lt;br /&gt;
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===2.3What is poetry translation appreciation and criticism ===&lt;br /&gt;
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Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.&lt;br /&gt;
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===2.4 principles of poetry translation appreciation and criticism===&lt;br /&gt;
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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.&lt;br /&gt;
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===3.Comparative analysis of different version of translation of poetry ===&lt;br /&gt;
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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. &lt;br /&gt;
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.&lt;br /&gt;
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Two parts included in this part. Apart from the appreciation and criticism of English poetry, then the analysis of Chinese poetry would be presented. English poetry is like an endless sea in which different kind of poems devote themselves into the poetry creation. Because of the limited writing space, I will choose some of the famous and significant English poetries and their 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. &lt;br /&gt;
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 refers to the various versions of translations. Different from 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. &lt;br /&gt;
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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. &lt;br /&gt;
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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 Hu Bu Shang Shu of Xian Feng period in 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). &lt;br /&gt;
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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. &lt;br /&gt;
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A Psalm of Life&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
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Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
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Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
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Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
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Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
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In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
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Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
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Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
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Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
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Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
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This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine paragraphs, and each part has four 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 paragraphs mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”   &lt;br /&gt;
&lt;br /&gt;
From the third paragraph to the sixth paragraph, 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 paragraph 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. &lt;br /&gt;
&lt;br /&gt;
The last paragraph is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     译文二： &lt;br /&gt;
      生命的礼赞                                           生之颂                   &lt;br /&gt;
别用悲伤的语调对我呻吟，                          别用悲切的诗句对我唱：&lt;br /&gt;
“人生不过是梦幻一场”！                             “人生只是虚幻的梦一场！”&lt;br /&gt;
因为沉睡中的灵魂已经死去，                        因为昏睡的灵魂已死亡，&lt;br /&gt;
万物并非它们显示的模样。                          而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                      人生多真切！它绝非虚度！                      &lt;br /&gt;
它们的终点决不是坟场；                            一抔黄土哪里会是它的归宿；&lt;br /&gt;
“你来自尘土， 必归于尘土”；                        “你来自泥尘，得重归泥尘，”&lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             我们命定的终点和道路&lt;br /&gt;
既不是享乐， 也不是悲伤；                          既不是享乐，也不是悲苦；&lt;br /&gt;
而是行动，为了每一个明天，                         行动吧；要让每一个明天&lt;br /&gt;
使我们比今天走得更远更长。                         发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               学艺费光阴，时日去匆忙，&lt;br /&gt;
我们的心尽管英勇而坚强，                           任我们的心勇敢又坚强，&lt;br /&gt;
却仍像阵阵低沉的鼓声，                             依然像一些蒙住的 鼓——&lt;br /&gt;
正朝着坟墓把哀乐敲响。                             敲打着哀乐走向那坟墓。&lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                               在风云世界的广阔战场，&lt;br /&gt;
在生命的露宿的营地上，                             在人生征途的野宿营帐，&lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     别像默默的牛羊任驱赶！&lt;br /&gt;
要在战斗中当一名闯将！                             要争做英雄，能征惯战！&lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      将来再美好也别空指望！&lt;br /&gt;
让逝去的岁月将死者埋葬！                          让死的过去把死的埋葬！&lt;br /&gt;
行动吧，就在活着的此刻行动！                      干！在活生生的现在就干！&lt;br /&gt;
胸内有红心，头顶有上苍！                          胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                      伟人的生平向我们指出：                          &lt;br /&gt;
我们能使我们的一生变得高尚，                      我们能使此生超群脱俗——&lt;br /&gt;
在离开人间时，也能让足印                          一朝逝去，时间的沙滩上&lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    将留下我们的脚印行行。&lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        在庄严的生活之海航行，&lt;br /&gt;
当他航行在生命庄严的海洋上，                      也许有兄弟会遭到不幸，&lt;br /&gt;
不幸遇难，看见了这些足印，                        会因为航船沉没而绝望——&lt;br /&gt;
他就会使勇气重新增长。                            但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                        让我们挺起身，行动起来，&lt;br /&gt;
我们准备迎接任何命运的风浪；                      凭对付任何的胸怀，&lt;br /&gt;
永远要有所作为，不断追求，                        不断去收获，不断去追求；&lt;br /&gt;
学会劳动，也学会等待和期望。                      永远在学着苦干和等候。&lt;br /&gt;
               （黄新渠译）                                     （黄果忻译）&lt;br /&gt;
&lt;br /&gt;
                                 译文三&lt;br /&gt;
                                 生之颂&lt;br /&gt;
                        莫向我吟唱，哀戚之词&lt;br /&gt;
                        叹生如梦境，虚无所炽&lt;br /&gt;
                        灵魂之沉睡，恍若长辞&lt;br /&gt;
                        而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
                        因孤坟荒土，非我命旨&lt;br /&gt;
                        因生之馥郁，真切如是&lt;br /&gt;
                        既生于尘滞，复归尘滞&lt;br /&gt;
                        而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
                        决不为欢声，抑或悲思&lt;br /&gt;
                        我生之所往，道长如斯&lt;br /&gt;
                        集快马长剑，日日疾驰&lt;br /&gt;
                        待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
                        任艺业无涯，光阴飞逝&lt;br /&gt;
                        彼壮士之心，英勇无疵&lt;br /&gt;
                        奈战鼓哀亡，冢林墓石&lt;br /&gt;
                        怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
                        观我生所在，浮华乱世&lt;br /&gt;
                        观风云乾坤，辽阔如帜&lt;br /&gt;
                        斯牛羊傀儡，安得其实&lt;br /&gt;
                        唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
                        纵欢娱无尽，未来未至&lt;br /&gt;
                        任亡者葬弃，过往已失&lt;br /&gt;
                        上苍行其道，我执其旨&lt;br /&gt;
                        即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
                        伟人之不朽，可为典示&lt;br /&gt;
                        倾我之所能，亦足至此&lt;br /&gt;
                        反肉身凡胎，终有一死&lt;br /&gt;
                        然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
                        望生命之海，风急浪蚀&lt;br /&gt;
                        念天行无常，苦难游子&lt;br /&gt;
                        而前人足迹，必将明示&lt;br /&gt;
                        纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
                        集生之全力，勿候勿止&lt;br /&gt;
                        有备则无惧，命运之矢&lt;br /&gt;
                        独精我所行，逐我所适&lt;br /&gt;
                        且耕且守望，丰收之时&lt;br /&gt;
                                  （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
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&lt;br /&gt;
===4.conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.&lt;br /&gt;
&lt;br /&gt;
=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
纽马克翻译理论视角下《我是猫》的不同中译本比较研究&lt;br /&gt;
邹岳丽 Zou Yueli Hunan Normal University, China&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
&lt;br /&gt;
=邱婷婷：On Xu Yuanchong’s poetry translation from the theory of  “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =&lt;br /&gt;
&lt;br /&gt;
[[Aesth_App_EN_3]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =&lt;br /&gt;
[[Aesth_App_EN_4]]&lt;br /&gt;
&lt;br /&gt;
吴映红 Wu Yinghong,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.&lt;br /&gt;
===Key words===&lt;br /&gt;
Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
从翻译美学的角度对《雪国》的审美再现进行比较研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===1.Inteoduction===&lt;br /&gt;
==1.1Background of the study==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==1.2Purpose and significance of the study==&lt;br /&gt;
Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &amp;quot;Snow Country&amp;quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.&lt;br /&gt;
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Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
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==1.3Prior Research==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
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==1.4Research Methodology==&lt;br /&gt;
Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).&lt;br /&gt;
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===2.on the aesthetics of translation===&lt;br /&gt;
==2.1Aesthetic origins of translation==&lt;br /&gt;
Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.&lt;br /&gt;
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]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
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==2.2Definition of Aesthetics of Translation==&lt;br /&gt;
In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.&lt;br /&gt;
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Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern&lt;br /&gt;
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==2.3Aesthetic Theory of Translation==&lt;br /&gt;
In aesthetics, the &amp;quot;aesthetic subject&amp;quot; refers to the aesthetic person, while the &amp;quot;aesthetic body&amp;quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.&lt;br /&gt;
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According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &amp;quot;emotion&amp;quot;, &amp;quot;knowledge&amp;quot;, &amp;quot;o&amp;quot; and &amp;quot;will&amp;quot;. The so-called &amp;quot;emotion&amp;quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &amp;quot;Knowledge&amp;quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &amp;quot;knowledge&amp;quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &amp;quot;Talent&amp;quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &amp;quot;will&amp;quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &amp;quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.&lt;br /&gt;
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Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
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===3 The Land of Snow and its Chinese translation===&lt;br /&gt;
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==3.1Yasunari Kawabata and The Land of Snow==&lt;br /&gt;
Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &amp;quot;mourning&amp;quot;. The term &amp;quot;mourning&amp;quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &amp;quot;mourning&amp;quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &amp;quot;mourning&amp;quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &amp;quot;mourning&amp;quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &amp;quot;mourning&amp;quot; in the process of translation and make the readers feel the same way.&lt;br /&gt;
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Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &amp;quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &amp;quot;No Generation,&amp;quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.&lt;br /&gt;
The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &amp;quot;Eastern-style&amp;quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &amp;quot;New Sensation Movement&amp;quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &amp;quot;tried to deny it and exclude it. &amp;quot; However, in his middle age, Kawabata found that he &amp;quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.&lt;br /&gt;
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Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &amp;quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&amp;quot; &amp;quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&amp;quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. &lt;br /&gt;
&amp;quot;This idea of emptiness of Yasunari Kawabata, who &amp;quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&amp;quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &amp;quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &amp;quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&amp;quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. &lt;br /&gt;
Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.&lt;br /&gt;
例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。&lt;br /&gt;
叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。&lt;br /&gt;
高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。&lt;br /&gt;
韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。&lt;br /&gt;
林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。&lt;br /&gt;
&amp;quot;くっと&amp;quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.&lt;br /&gt;
For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &amp;quot;suddenly bent&amp;quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &amp;quot;curling up&amp;quot; and consider that translating the word &amp;quot;くっと&amp;quot; as it is would overlap semantically with the word &amp;quot;身をすくめる&amp;quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &amp;quot;suddenly curling up&amp;quot; with &amp;quot;making a strong effort to curl up&amp;quot;. The Korean translation replaces the word &amp;quot;suddenly curled up&amp;quot; with &amp;quot;hunched up&amp;quot;, while the Lin translation simply omits the word and says &amp;quot;curled up&amp;quot;. These translations are precisely communicative translations adapted to Chinese expression habits.&lt;br /&gt;
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Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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==3.2The aesthetic value of The Land of Snow==&lt;br /&gt;
Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.&lt;br /&gt;
Although the storyline of &amp;quot;Snow Country&amp;quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.&lt;br /&gt;
In &amp;quot;Snow Country&amp;quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &amp;quot;Snow Country&amp;quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.&lt;br /&gt;
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Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.&lt;br /&gt;
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Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
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==3.3The Chinese translation of The Land of Snow==&lt;br /&gt;
Yasunari Kawa's masterpiece &amp;quot;Snow Country&amp;quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.&lt;br /&gt;
In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.&lt;br /&gt;
When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.&lt;br /&gt;
&amp;quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&amp;quot;&lt;br /&gt;
Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.&lt;br /&gt;
The subject &amp;quot;THE TRAIN&amp;quot; appears in the first sentence of the English translation, but there is no subject corresponding to &amp;quot;TRAIN&amp;quot; in the Japanese original. In the first sentence of the English translation, the subject &amp;quot;the train&amp;quot; appears.&lt;br /&gt;
In the original Japanese work, there is no subject corresponding to &amp;quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &amp;quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &amp;quot;went through&amp;quot; and &amp;quot;entered&amp;quot;, but instead, the first and second sentences are set as &amp;quot;When it exited, it was ......&amp;quot;. In the original story, there are no such expressions as &amp;quot;skillfully&amp;quot; and &amp;quot;entered,&amp;quot; but instead, the preamble and postamble are set to &amp;quot;exited and .......&amp;quot; In essence, &amp;quot;exited and ......&amp;quot; and &amp;quot;exited and ......&amp;quot; are completely different narratives, and represent completely different cognitive systems.&lt;br /&gt;
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Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.&lt;br /&gt;
例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。&lt;br /&gt;
译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。&lt;br /&gt;
In Japanese vocabulary, &amp;quot;onomatopoeic words&amp;quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &amp;quot;Snow Country&amp;quot;, which has a strong sense of image, is difficult because of the mimetic word &amp;quot;Gosho&amp;quot;. Ye Weiqu translates it as &amp;quot;Kirikou&amp;quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &amp;quot;ごそごそ&amp;quot; is explained in the &amp;quot;Dictionary of Chinese Language&amp;quot; as &amp;quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&amp;quot;, which means The word &amp;quot;ごそごそ&amp;quot; means both sound and action, and Ye Weiqu's translation is the best. The word &amp;quot;叽里哐当&amp;quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined&lt;br /&gt;
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Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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===4.Conclusion===&lt;br /&gt;
Snow Country  is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&amp;quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.&lt;br /&gt;
The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.&lt;br /&gt;
Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &amp;quot;material mourning&amp;quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.&lt;br /&gt;
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===5.References===&lt;br /&gt;
[1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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[2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.&lt;br /&gt;
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[3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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[4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
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[5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
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[6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
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[7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.&lt;br /&gt;
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[8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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[9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
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		<author><name>Zou Yueli</name></author>
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		<title>Aesthetic Appreciation of Literary Translations</title>
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		<summary type="html">&lt;p&gt;Zou Yueli: &lt;/p&gt;
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&lt;div&gt;'''Aesthetic Appreciation of Literary Translations'''&lt;br /&gt;
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=1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life&lt;br /&gt;
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===摘要===&lt;br /&gt;
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It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===Key words===&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
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Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
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According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
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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.&lt;br /&gt;
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===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
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===2.1What is poetry===&lt;br /&gt;
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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. &lt;br /&gt;
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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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
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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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
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===2.2 principles of poetry translation===&lt;br /&gt;
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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”.&lt;br /&gt;
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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)&lt;br /&gt;
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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（Liao Siping, Zhang Yu, 2007: 53）. 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.&lt;br /&gt;
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===2.3What is poetry translation appreciation and criticism ===&lt;br /&gt;
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Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.&lt;br /&gt;
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===2.4 principles of poetry translation appreciation and criticism===&lt;br /&gt;
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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.&lt;br /&gt;
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===3.Comparative analysis of different version of translation of poetry ===&lt;br /&gt;
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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. &lt;br /&gt;
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.&lt;br /&gt;
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Two parts included in this part. Apart from the appreciation and criticism of English poetry, then the analysis of Chinese poetry would be presented. English poetry is like an endless sea in which different kind of poems devote themselves into the poetry creation. Because of the limited writing space, I will choose some of the famous and significant English poetries and their 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. &lt;br /&gt;
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 refers to the various versions of translations. Different from 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. &lt;br /&gt;
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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. &lt;br /&gt;
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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 Hu Bu Shang Shu of Xian Feng period in 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). &lt;br /&gt;
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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. &lt;br /&gt;
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A Psalm of Life&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
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Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
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Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
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Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
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Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
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In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
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Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
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Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
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Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
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Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
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This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine paragraphs, and each part has four 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 paragraphs mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”   &lt;br /&gt;
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From the third paragraph to the sixth paragraph, 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 paragraph 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. &lt;br /&gt;
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The last paragraph is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     译文二： &lt;br /&gt;
      生命的礼赞                                           生之颂                   &lt;br /&gt;
别用悲伤的语调对我呻吟，                          别用悲切的诗句对我唱：&lt;br /&gt;
“人生不过是梦幻一场”！                             “人生只是虚幻的梦一场！”&lt;br /&gt;
因为沉睡中的灵魂已经死去，                        因为昏睡的灵魂已死亡，&lt;br /&gt;
万物并非它们显示的模样。                          而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                      人生多真切！它绝非虚度！                      &lt;br /&gt;
它们的终点决不是坟场；                            一抔黄土哪里会是它的归宿；&lt;br /&gt;
“你来自尘土， 必归于尘土”；                        “你来自泥尘，得重归泥尘，”&lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             我们命定的终点和道路&lt;br /&gt;
既不是享乐， 也不是悲伤；                          既不是享乐，也不是悲苦；&lt;br /&gt;
而是行动，为了每一个明天，                         行动吧；要让每一个明天&lt;br /&gt;
使我们比今天走得更远更长。                         发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               学艺费光阴，时日去匆忙，&lt;br /&gt;
我们的心尽管英勇而坚强，                           任我们的心勇敢又坚强，&lt;br /&gt;
却仍像阵阵低沉的鼓声，                             依然像一些蒙住的 鼓——&lt;br /&gt;
正朝着坟墓把哀乐敲响。                             敲打着哀乐走向那坟墓。&lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                               在风云世界的广阔战场，&lt;br /&gt;
在生命的露宿的营地上，                             在人生征途的野宿营帐，&lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     别像默默的牛羊任驱赶！&lt;br /&gt;
要在战斗中当一名闯将！                             要争做英雄，能征惯战！&lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      将来再美好也别空指望！&lt;br /&gt;
让逝去的岁月将死者埋葬！                          让死的过去把死的埋葬！&lt;br /&gt;
行动吧，就在活着的此刻行动！                      干！在活生生的现在就干！&lt;br /&gt;
胸内有红心，头顶有上苍！                          胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                      伟人的生平向我们指出：                          &lt;br /&gt;
我们能使我们的一生变得高尚，                      我们能使此生超群脱俗——&lt;br /&gt;
在离开人间时，也能让足印                          一朝逝去，时间的沙滩上&lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    将留下我们的脚印行行。&lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        在庄严的生活之海航行，&lt;br /&gt;
当他航行在生命庄严的海洋上，                      也许有兄弟会遭到不幸，&lt;br /&gt;
不幸遇难，看见了这些足印，                        会因为航船沉没而绝望——&lt;br /&gt;
他就会使勇气重新增长。                            但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                        让我们挺起身，行动起来，&lt;br /&gt;
我们准备迎接任何命运的风浪；                      凭对付任何的胸怀，&lt;br /&gt;
永远要有所作为，不断追求，                        不断去收获，不断去追求；&lt;br /&gt;
学会劳动，也学会等待和期望。                      永远在学着苦干和等候。&lt;br /&gt;
               （黄新渠译）                                     （黄果忻译）&lt;br /&gt;
&lt;br /&gt;
                                 译文三&lt;br /&gt;
                                 生之颂&lt;br /&gt;
                        莫向我吟唱，哀戚之词&lt;br /&gt;
                        叹生如梦境，虚无所炽&lt;br /&gt;
                        灵魂之沉睡，恍若长辞&lt;br /&gt;
                        而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
                        因孤坟荒土，非我命旨&lt;br /&gt;
                        因生之馥郁，真切如是&lt;br /&gt;
                        既生于尘滞，复归尘滞&lt;br /&gt;
                        而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
                        决不为欢声，抑或悲思&lt;br /&gt;
                        我生之所往，道长如斯&lt;br /&gt;
                        集快马长剑，日日疾驰&lt;br /&gt;
                        待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
                        任艺业无涯，光阴飞逝&lt;br /&gt;
                        彼壮士之心，英勇无疵&lt;br /&gt;
                        奈战鼓哀亡，冢林墓石&lt;br /&gt;
                        怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
                        观我生所在，浮华乱世&lt;br /&gt;
                        观风云乾坤，辽阔如帜&lt;br /&gt;
                        斯牛羊傀儡，安得其实&lt;br /&gt;
                        唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
                        纵欢娱无尽，未来未至&lt;br /&gt;
                        任亡者葬弃，过往已失&lt;br /&gt;
                        上苍行其道，我执其旨&lt;br /&gt;
                        即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
                        伟人之不朽，可为典示&lt;br /&gt;
                        倾我之所能，亦足至此&lt;br /&gt;
                        反肉身凡胎，终有一死&lt;br /&gt;
                        然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
                        望生命之海，风急浪蚀&lt;br /&gt;
                        念天行无常，苦难游子&lt;br /&gt;
                        而前人足迹，必将明示&lt;br /&gt;
                        纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
                        集生之全力，勿候勿止&lt;br /&gt;
                        有备则无惧，命运之矢&lt;br /&gt;
                        独精我所行，逐我所适&lt;br /&gt;
                        且耕且守望，丰收之时&lt;br /&gt;
                                  （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===4.conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.&lt;br /&gt;
&lt;br /&gt;
=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
&lt;br /&gt;
=邱婷婷：On Xu Yuanchong’s poetry translation from the theory of  “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =&lt;br /&gt;
&lt;br /&gt;
[[Aesth_App_EN_3]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =&lt;br /&gt;
[[Aesth_App_EN_4]]&lt;br /&gt;
&lt;br /&gt;
吴映红 Wu Yinghong,Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.&lt;br /&gt;
===Key words===&lt;br /&gt;
Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
从翻译美学的角度对《雪国》的审美再现进行比较研究&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===1.Inteoduction===&lt;br /&gt;
==1.1Background of the study==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==1.2Purpose and significance of the study==&lt;br /&gt;
Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &amp;quot;Snow Country&amp;quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.&lt;br /&gt;
&lt;br /&gt;
Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
&lt;br /&gt;
==1.3Prior Research==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==1.4Research Methodology==&lt;br /&gt;
Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).&lt;br /&gt;
&lt;br /&gt;
===2.on the aesthetics of translation===&lt;br /&gt;
==2.1Aesthetic origins of translation==&lt;br /&gt;
Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.&lt;br /&gt;
&lt;br /&gt;
]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
&lt;br /&gt;
==2.2Definition of Aesthetics of Translation==&lt;br /&gt;
In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.&lt;br /&gt;
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Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern&lt;br /&gt;
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==2.3Aesthetic Theory of Translation==&lt;br /&gt;
In aesthetics, the &amp;quot;aesthetic subject&amp;quot; refers to the aesthetic person, while the &amp;quot;aesthetic body&amp;quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.&lt;br /&gt;
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According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &amp;quot;emotion&amp;quot;, &amp;quot;knowledge&amp;quot;, &amp;quot;o&amp;quot; and &amp;quot;will&amp;quot;. The so-called &amp;quot;emotion&amp;quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &amp;quot;Knowledge&amp;quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &amp;quot;knowledge&amp;quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &amp;quot;Talent&amp;quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &amp;quot;will&amp;quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &amp;quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.&lt;br /&gt;
&lt;br /&gt;
Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
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===3 The Land of Snow and its Chinese translation===&lt;br /&gt;
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==3.1Yasunari Kawabata and The Land of Snow==&lt;br /&gt;
Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &amp;quot;mourning&amp;quot;. The term &amp;quot;mourning&amp;quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &amp;quot;mourning&amp;quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &amp;quot;mourning&amp;quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &amp;quot;mourning&amp;quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &amp;quot;mourning&amp;quot; in the process of translation and make the readers feel the same way.&lt;br /&gt;
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Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &amp;quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &amp;quot;No Generation,&amp;quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.&lt;br /&gt;
The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &amp;quot;Eastern-style&amp;quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &amp;quot;New Sensation Movement&amp;quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &amp;quot;tried to deny it and exclude it. &amp;quot; However, in his middle age, Kawabata found that he &amp;quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.&lt;br /&gt;
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Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &amp;quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&amp;quot; &amp;quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&amp;quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. &lt;br /&gt;
&amp;quot;This idea of emptiness of Yasunari Kawabata, who &amp;quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&amp;quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &amp;quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &amp;quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&amp;quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. &lt;br /&gt;
Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.&lt;br /&gt;
例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。&lt;br /&gt;
叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。&lt;br /&gt;
高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。&lt;br /&gt;
韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。&lt;br /&gt;
林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。&lt;br /&gt;
&amp;quot;くっと&amp;quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.&lt;br /&gt;
For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &amp;quot;suddenly bent&amp;quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &amp;quot;curling up&amp;quot; and consider that translating the word &amp;quot;くっと&amp;quot; as it is would overlap semantically with the word &amp;quot;身をすくめる&amp;quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &amp;quot;suddenly curling up&amp;quot; with &amp;quot;making a strong effort to curl up&amp;quot;. The Korean translation replaces the word &amp;quot;suddenly curled up&amp;quot; with &amp;quot;hunched up&amp;quot;, while the Lin translation simply omits the word and says &amp;quot;curled up&amp;quot;. These translations are precisely communicative translations adapted to Chinese expression habits.&lt;br /&gt;
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Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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==3.2The aesthetic value of The Land of Snow==&lt;br /&gt;
Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.&lt;br /&gt;
Although the storyline of &amp;quot;Snow Country&amp;quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.&lt;br /&gt;
In &amp;quot;Snow Country&amp;quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &amp;quot;Snow Country&amp;quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.&lt;br /&gt;
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Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.&lt;br /&gt;
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Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
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==3.3The Chinese translation of The Land of Snow==&lt;br /&gt;
Yasunari Kawa's masterpiece &amp;quot;Snow Country&amp;quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.&lt;br /&gt;
In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.&lt;br /&gt;
When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.&lt;br /&gt;
&amp;quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&amp;quot;&lt;br /&gt;
Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.&lt;br /&gt;
The subject &amp;quot;THE TRAIN&amp;quot; appears in the first sentence of the English translation, but there is no subject corresponding to &amp;quot;TRAIN&amp;quot; in the Japanese original. In the first sentence of the English translation, the subject &amp;quot;the train&amp;quot; appears.&lt;br /&gt;
In the original Japanese work, there is no subject corresponding to &amp;quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &amp;quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &amp;quot;went through&amp;quot; and &amp;quot;entered&amp;quot;, but instead, the first and second sentences are set as &amp;quot;When it exited, it was ......&amp;quot;. In the original story, there are no such expressions as &amp;quot;skillfully&amp;quot; and &amp;quot;entered,&amp;quot; but instead, the preamble and postamble are set to &amp;quot;exited and .......&amp;quot; In essence, &amp;quot;exited and ......&amp;quot; and &amp;quot;exited and ......&amp;quot; are completely different narratives, and represent completely different cognitive systems.&lt;br /&gt;
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Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.&lt;br /&gt;
例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。&lt;br /&gt;
译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。&lt;br /&gt;
In Japanese vocabulary, &amp;quot;onomatopoeic words&amp;quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &amp;quot;Snow Country&amp;quot;, which has a strong sense of image, is difficult because of the mimetic word &amp;quot;Gosho&amp;quot;. Ye Weiqu translates it as &amp;quot;Kirikou&amp;quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &amp;quot;ごそごそ&amp;quot; is explained in the &amp;quot;Dictionary of Chinese Language&amp;quot; as &amp;quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&amp;quot;, which means The word &amp;quot;ごそごそ&amp;quot; means both sound and action, and Ye Weiqu's translation is the best. The word &amp;quot;叽里哐当&amp;quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined&lt;br /&gt;
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Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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===4.Conclusion===&lt;br /&gt;
Snow Country  is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&amp;quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.&lt;br /&gt;
The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.&lt;br /&gt;
Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &amp;quot;material mourning&amp;quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.&lt;br /&gt;
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===5.References===&lt;br /&gt;
[1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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[2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.&lt;br /&gt;
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[3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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[4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
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[5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
&lt;br /&gt;
[6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
&lt;br /&gt;
[7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.&lt;br /&gt;
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[8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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[9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
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&lt;div&gt;'''Aesthetic Appreciation of Literary Translations'''&lt;br /&gt;
Chapter [[Theor_App_Lit_EN_1]]&lt;br /&gt;
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=1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life&lt;br /&gt;
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===摘要===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism 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 comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.&lt;br /&gt;
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===Key words===&lt;br /&gt;
poetry translation; appreciation and criticism; comparative analysis&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc. &lt;br /&gt;
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According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state 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 poetries with rich titles and versatile structures. &lt;br /&gt;
Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. 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. &lt;br /&gt;
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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.&lt;br /&gt;
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===2.The principles of poetry translation appreciation and criticism===&lt;br /&gt;
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===2.1What is poetry===&lt;br /&gt;
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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. &lt;br /&gt;
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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 (Li Ming, 2010: 203). &lt;br /&gt;
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. (宁会勤，2009：34) &lt;br /&gt;
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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.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.&lt;br /&gt;
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===2.2 principles of poetry translation===&lt;br /&gt;
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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”.&lt;br /&gt;
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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)&lt;br /&gt;
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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（Liao Siping, Zhang Yu, 2007: 53）. 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.&lt;br /&gt;
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===2.3What is poetry translation appreciation and criticism ===&lt;br /&gt;
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Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.&lt;br /&gt;
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===2.4 principles of poetry translation appreciation and criticism===&lt;br /&gt;
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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.&lt;br /&gt;
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===3.Comparative analysis of different version of translation of poetry ===&lt;br /&gt;
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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. &lt;br /&gt;
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.&lt;br /&gt;
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Two parts included in this part. Apart from the appreciation and criticism of English poetry, then the analysis of Chinese poetry would be presented. English poetry is like an endless sea in which different kind of poems devote themselves into the poetry creation. Because of the limited writing space, I will choose some of the famous and significant English poetries and their 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. &lt;br /&gt;
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 refers to the various versions of translations. Different from 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. &lt;br /&gt;
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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. &lt;br /&gt;
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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 Hu Bu Shang Shu of Xian Feng period in 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). &lt;br /&gt;
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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. &lt;br /&gt;
&lt;br /&gt;
A Psalm of Life&lt;br /&gt;
Henry Wordsworth Long Fellow&lt;br /&gt;
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Tell me not in mournful numbers,&lt;br /&gt;
Life is but an empty dream!&lt;br /&gt;
For the soul is dead that slumbers,&lt;br /&gt;
And things are not what they seem. &lt;br /&gt;
&lt;br /&gt;
Life is real! Life is earnest!&lt;br /&gt;
And the grave is not its goal;&lt;br /&gt;
Dust thou art, to dust returnest,&lt;br /&gt;
Was not spoken of the soul.&lt;br /&gt;
&lt;br /&gt;
Not enjoyment, and not sorrow,&lt;br /&gt;
Is our destined end or way;&lt;br /&gt;
But to act, that each tomorrow&lt;br /&gt;
Finds us farther than today.&lt;br /&gt;
&lt;br /&gt;
Art is long, and time is fleeting,&lt;br /&gt;
And our hearts, though stout and brave,&lt;br /&gt;
Still, like muffled drums, are beating&lt;br /&gt;
Funeral marches to the grave.&lt;br /&gt;
&lt;br /&gt;
In the world’s broad field of battle, &lt;br /&gt;
In the bivouac of life,&lt;br /&gt;
Be not like dumb, driven cattle!&lt;br /&gt;
Be a hero in the strife!&lt;br /&gt;
&lt;br /&gt;
Trust no Future, howe’er pleasant!&lt;br /&gt;
Let the dead Past bury its dead!&lt;br /&gt;
Act—act in the living Present!&lt;br /&gt;
Heart within, and God’s o’erhead!&lt;br /&gt;
&lt;br /&gt;
Lives of great men all remind us &lt;br /&gt;
We can make our lives sublime,&lt;br /&gt;
And, departing, leave behind us&lt;br /&gt;
Footprints on the sands of time;&lt;br /&gt;
&lt;br /&gt;
Footprints that perhaps another,&lt;br /&gt;
Sailing o’er life’s solemn main,&lt;br /&gt;
A forlorn and shipwrecked brother,&lt;br /&gt;
Seeing, shall take heart again.&lt;br /&gt;
&lt;br /&gt;
Let us, then, be up and doing,&lt;br /&gt;
With a heart for any fate;&lt;br /&gt;
Still achieving, still pursuing,&lt;br /&gt;
Learn to labour and to wait.&lt;br /&gt;
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This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine paragraphs, and each part has four 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 paragraphs mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”   &lt;br /&gt;
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From the third paragraph to the sixth paragraph, 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 paragraph 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. &lt;br /&gt;
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The last paragraph is 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. &lt;br /&gt;
Now let us see the Chinese versions of translations of A Psalm of Life. &lt;br /&gt;
 译文一：                                     译文二： &lt;br /&gt;
      生命的礼赞                                           生之颂                   &lt;br /&gt;
别用悲伤的语调对我呻吟，                          别用悲切的诗句对我唱：&lt;br /&gt;
“人生不过是梦幻一场”！                             “人生只是虚幻的梦一场！”&lt;br /&gt;
因为沉睡中的灵魂已经死去，                        因为昏睡的灵魂已死亡，&lt;br /&gt;
万物并非它们显示的模样。                          而事物不是看来那模样。&lt;br /&gt;
&lt;br /&gt;
生命是真实的！生活是严肃的！                      人生多真切！它绝非虚度！                      &lt;br /&gt;
它们的终点决不是坟场；                            一抔黄土哪里会是它的归宿；&lt;br /&gt;
“你来自尘土， 必归于尘土”；                        “你来自泥尘，得重归泥尘，”&lt;br /&gt;
但这是指肉体，灵魂并未死亡。                       这句话所指的并不是灵魂。&lt;br /&gt;
&lt;br /&gt;
我们注定的结局和道路，                             我们命定的终点和道路&lt;br /&gt;
既不是享乐， 也不是悲伤；                          既不是享乐，也不是悲苦；&lt;br /&gt;
而是行动，为了每一个明天，                         行动吧；要让每一个明天&lt;br /&gt;
使我们比今天走得更远更长。                         发现我们比今天走得远。&lt;br /&gt;
&lt;br /&gt;
艺术长久，韶光飞逝，                               学艺费光阴，时日去匆忙，&lt;br /&gt;
我们的心尽管英勇而坚强，                           任我们的心勇敢又坚强，&lt;br /&gt;
却仍像阵阵低沉的鼓声，                             依然像一些蒙住的 鼓——&lt;br /&gt;
正朝着坟墓把哀乐敲响。                             敲打着哀乐走向那坟墓。&lt;br /&gt;
 &lt;br /&gt;
在世界辽阔的战场上，                               在风云世界的广阔战场，&lt;br /&gt;
在生命的露宿的营地上，                             在人生征途的野宿营帐，&lt;br /&gt;
别作默默无声、任人驱使的牛羊，                     别像默默的牛羊任驱赶！&lt;br /&gt;
要在战斗中当一名闯将！                             要争做英雄，能征惯战！&lt;br /&gt;
&lt;br /&gt;
莫信托未来，不管它怎样欢畅！                      将来再美好也别空指望！&lt;br /&gt;
让逝去的岁月将死者埋葬！                          让死的过去把死的埋葬！&lt;br /&gt;
行动吧，就在活着的此刻行动！                      干！在活生生的现在就干！&lt;br /&gt;
胸内有红心，头顶有上苍！                          胸中是赤心，上帝在云端！&lt;br /&gt;
&lt;br /&gt;
伟大的人物的生平把我们提醒，                      伟人的生平向我们指出：                          &lt;br /&gt;
我们能使我们的一生变得高尚，                      我们能使此生超群脱俗——&lt;br /&gt;
在离开人间时，也能让足印                          一朝逝去，时间的沙滩上&lt;br /&gt;
遗留在我们身后的时间的沙滩上。                    将留下我们的脚印行行。&lt;br /&gt;
 &lt;br /&gt;
呵，足印！也许另一位弟兄，                        在庄严的生活之海航行，&lt;br /&gt;
当他航行在生命庄严的海洋上，                      也许有兄弟会遭到不幸，&lt;br /&gt;
不幸遇难，看见了这些足印，                        会因为航船沉没而绝望——&lt;br /&gt;
他就会使勇气重新增长。                            但见那脚印，又变得顽强。&lt;br /&gt;
&lt;br /&gt;
那么让我们振奋起来行动吧，                        让我们挺起身，行动起来，&lt;br /&gt;
我们准备迎接任何命运的风浪；                      凭对付任何的胸怀，&lt;br /&gt;
永远要有所作为，不断追求，                        不断去收获，不断去追求；&lt;br /&gt;
学会劳动，也学会等待和期望。                      永远在学着苦干和等候。&lt;br /&gt;
               （黄新渠译）                                     （黄果忻译）&lt;br /&gt;
&lt;br /&gt;
                                 译文三&lt;br /&gt;
                                 生之颂&lt;br /&gt;
                        莫向我吟唱，哀戚之词&lt;br /&gt;
                        叹生如梦境，虚无所炽&lt;br /&gt;
                        灵魂之沉睡，恍若长辞&lt;br /&gt;
                        而世间万物，伪装如缁&lt;br /&gt;
&lt;br /&gt;
                        因孤坟荒土，非我命旨&lt;br /&gt;
                        因生之馥郁，真切如是&lt;br /&gt;
                        既生于尘滞，复归尘滞&lt;br /&gt;
                        而九天魂灵，长存如诗&lt;br /&gt;
&lt;br /&gt;
                        决不为欢声，抑或悲思&lt;br /&gt;
                        我生之所往，道长如斯&lt;br /&gt;
                        集快马长剑，日日疾驰&lt;br /&gt;
                        待明日细数，功成如此&lt;br /&gt;
&lt;br /&gt;
                        任艺业无涯，光阴飞逝&lt;br /&gt;
                        彼壮士之心，英勇无疵&lt;br /&gt;
                        奈战鼓哀亡，冢林墓石&lt;br /&gt;
                        怜其怨其殇，命魂所指&lt;br /&gt;
&lt;br /&gt;
                        观我生所在，浮华乱世&lt;br /&gt;
                        观风云乾坤，辽阔如帜&lt;br /&gt;
                        斯牛羊傀儡，安得其实&lt;br /&gt;
                        唯浴血烽火，终成其事&lt;br /&gt;
&lt;br /&gt;
                        纵欢娱无尽，未来未至&lt;br /&gt;
                        任亡者葬弃，过往已失&lt;br /&gt;
                        上苍行其道，我执其旨&lt;br /&gt;
                        即可启征铎，不枉今日&lt;br /&gt;
              &lt;br /&gt;
                        伟人之不朽，可为典示&lt;br /&gt;
                        倾我之所能，亦足至此&lt;br /&gt;
                        反肉身凡胎，终有一死&lt;br /&gt;
                        然我将留痕，流光之坻&lt;br /&gt;
&lt;br /&gt;
                        望生命之海，风急浪蚀&lt;br /&gt;
                        念天行无常，苦难游子&lt;br /&gt;
                        而前人足迹，必将明示&lt;br /&gt;
                        纵满盘皆输，壮志不失&lt;br /&gt;
&lt;br /&gt;
                        集生之全力，勿候勿止&lt;br /&gt;
                        有备则无惧，命运之矢&lt;br /&gt;
                        独精我所行，逐我所适&lt;br /&gt;
                        且耕且守望，丰收之时&lt;br /&gt;
                                  （张瑶译）&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Tell me not in mournful numbers&amp;quot;, the three translations have their own emphasis, the first translation is &amp;quot;Don't whisper to me in a sad tone&amp;quot;, the &amp;quot;tell&amp;quot; is translated as &amp;quot;低吟&amp;quot;; the second translation is &amp;quot;Tell&amp;quot; is translated as &amp;quot;唱&amp;quot;; the third translation is translated as &amp;quot;吟唱&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
For &amp;quot;Life is but an empty dream&amp;quot;, the first and second translations both translated it as &amp;quot;Life is just an illusory dream&amp;quot;, which basically achieves the effect of &amp;quot;expressing meaning&amp;quot;, while the third translation is translated as &amp;quot;sorrowful words&amp;quot;, the author believes that it is biased, because it does not convey the charm of &amp;quot;life is like a dream&amp;quot; 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 rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.&lt;br /&gt;
&lt;br /&gt;
In the second section, the translation of &amp;quot;Life is real, life is earnest!&amp;quot; translates two &amp;quot;life&amp;quot; into &amp;quot;生命&amp;quot; and &amp;quot;生活&amp;quot; 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, &amp;quot;life&amp;quot; is translated as “人生&amp;quot;, and &amp;quot;life is earnest!&amp;quot; is translated as &amp;quot;it is not in vain&amp;quot;. This is a conversion of positive and negative translation, which surprises readers.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the fourth paragraph, “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”； 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. &lt;br /&gt;
&lt;br /&gt;
In the fifth paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the sixth paragraph, “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！”；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.&lt;br /&gt;
 &lt;br /&gt;
In the seventh paragraph, “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. &lt;br /&gt;
&lt;br /&gt;
In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.”&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
In the ninth paragraph, 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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===4.conclusion===&lt;br /&gt;
&lt;br /&gt;
Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him 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. &lt;br /&gt;
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 different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, 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 mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.&lt;br /&gt;
&lt;br /&gt;
=邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory=&lt;br /&gt;
[[Aesth_App_EN_2]]&lt;br /&gt;
===关键词===&lt;br /&gt;
语义翻译;交际翻译;表达型文本&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since its publication, I am a cat has been regarded as a representative work of Natsume Soseki. So far, there are several representative translated texts in China. Newmark put forward the two concepts of &amp;quot;semantic translation and communicative translation&amp;quot; in his book exploration of translation problems. He insisted that different text types should adopt different translation methods. Literary translation is to reproduce the artistic image and artistic style of the original work in different literary languages, so that the target readers can get the same inspiration and feelings as the original readers. It is an artistic translation method. Starting with Newmark's &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation&amp;quot;, this paper makes a comparative analysis of the Chinese translation of Natsume Soseki's work I am a cat,and proves that Newmark theory can be applied to the Chinese translation standard of Japanese literary works.&lt;br /&gt;
===Keywords===&lt;br /&gt;
semantic translation; Communicative translation; Expressive text&lt;br /&gt;
===Introduction===&lt;br /&gt;
This paper is an analysis of Natsume Soseki's mainland and Taiwan versions of I am a cat　from the perspective of Scottish theory. In this part, firstly, the significance of this study is briefly explained. Next, the research methods are clarified. Finally, the composition of this study is stated.&lt;br /&gt;
====Research meaning ====&lt;br /&gt;
Natsume Soseki is a representative writer in modern Japanese literature. I am a cat is Soseki's first novel. In 1905, he published &amp;quot;I am a cat&amp;quot;, which was highly praised. I am a cat was serialized on azalea from January 1905 (Meiji 38) to August 1906. From October 1905 to may 1907, the whole three volumes were jointly published by DaChang bookstore and clothing bookstore. The novel takes the cat as the protagonist and observes the world. You can see a lot of psychological descriptions and facial expressions. Moreover, from 1958 to now, there are more than 30 translations in the country, Not only in the mainland, but also in Taiwan. Not only the regions of translation are different, but also the periods of translation are different. Moreover, the translator fully envisages that the benchmarks and translation methods adopted are different, and the significance of the study on this point is.&lt;br /&gt;
Based on the basic principles of Newmark's translation theory, this paper makes a comparative analysis of the Chinese versions of Natsume Soseki's representative work I am a cat.This paper mainly studies the fit between each translation and the original from the aspects of character description, cultural words, idiom translation and so on.&lt;br /&gt;
====Research method====&lt;br /&gt;
This study mainly adopts the methods of investigation, literature research, text analysis and comparative research.Firstly, the author investigates Natsume Soseki and I am a cat, the mainland and Taiwan versions, as well as the translators through investigation method. Then, I read the original and translation of I am a cat, collected and summarized the previous research, found the beginning of the research and decided the theme. Finally, the comparative study method is used to make a comparative analysis of the translation.&lt;br /&gt;
====Composition of the paper====&lt;br /&gt;
This paper is mainly composed of three parts. 3.4 this part introduces Newmark's translation. It is mainly introduced from the aspects of language function and text type, semantic translation and interlingual translation. 3.5 this part mainly introduces the selection of the three versions of I am a cat and its translators and translation background. 3.6 this part is based on the Newmark theory to appreciate the three Chinese versions of I am a cat. It mainly studies the fit between each translation and the original from the aspects of character description, cultural words and idiom translation. Finally, the conclusion is made in 3.7.&lt;br /&gt;
===An introduction to Newmark 's translation theory===&lt;br /&gt;
Many translators have put forward their own views on the translation of literary works, but few really put forward translation methods. As a famous British translation theorist, Newmark divided expressive text, informational text and vocative text according to the types of text in his first book approachs to translation published in 1981, and put forward the core of his translation theory - semantic translation and communicative translation, and its essence is the problem of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;.&lt;br /&gt;
After Eugene Nida, Newmark can be regarded as one of the most influential translation theorists . His main achievement is to put forward language function and text type, semantic translation and communicative translation.&lt;br /&gt;
====Language function and text type====&lt;br /&gt;
Newmark believes that translation is the translation of the text, and the study of translation cannot leave the text. On the basis of revising the language theory of buhler and Jakob-son's functional model, Newmark puts forward his own set of text functions and their classification according to different contents and styles. He divided the text into the following six kinds: expression function, information function, calling function, aesthetic function,entertainment function and metalanguage function.&lt;br /&gt;
====Newmark’s Translation Theory--semantic translation and communicative translation====&lt;br /&gt;
Peter Newmark defined communicative translation and semantic translation in his approachesto translation. &amp;quot;Communicative translation means that the effect of the translated text on the target readers is as equal as that of the original text on the original readers as possible. Semantic translation means that the contextual meaning of the original text is reproduced as accurately as possible on the premise that the semantic and syntactic structure of the target language allow.&amp;quot; semantic translation regards the words and sentences of the original text as sacred and inviolable, even if there are ambiguities and errors in the original text. Newmark said: &amp;quot;the purpose of communicative translation is to reproduce the same effect felt by the original readers in the target language as much as possible&amp;quot;.&lt;br /&gt;
Semantic translation pursues the accuracy of the translation and mainly serves the primitive culture and the original author. It can be explained only when there is the greatest obstacle to the understanding of the meaning of the original text. Communicative translation pays more attention to readers' response, has strong subjectivity and serves the target culture. In order not to leave something difficult to understand, the translator can even revise the original work. Although there are great differences between semantic translation and communicative translation, they also have considerable unity in literary translation. If semantic translation and communicative translation can be used to convey at the same time, it may be the most &amp;quot;expressiveness&amp;quot; translation. However, if &amp;quot;the original text is important&amp;quot;, we should be faithful to the original text and choose semantic translation. If readers cannot accept the information conveyed by the original text and the original information is not very important, they can choose communicative translation in a language more acceptable to the target language readers.&lt;br /&gt;
===The selection of the three versions and the introduction of the translator and the background of their translation===&lt;br /&gt;
====Introduction to Natsume Soseki and I'm a cat====&lt;br /&gt;
Natsume Soseki is a modern Japanese writer. He enjoys a high position in the history of modern Japanese literature and is known as the &amp;quot;national writer&amp;quot;. He has high attainments in both eastern and Western cultures. He is not only an English scholar, but also good at haiku, Chinese poetry and calligraphy. When writing novels, he is good at using couplets, overlapping sentences, humorous language and novel forms. His precise and subtle description of personal psychology opened the trend of private novels in later generations. Many scholars came out of his door, and Ryunosuke Akutagawa was also promoted by him. He persisted in his critical attitude towards Meiji society all his life. On December 9, 1916, Natsume Soseki died of illness. 《I'm a cat》 is his maiden work.&lt;br /&gt;
Through the vision of a kitten, I'm a cat describes the life of his owner, poor teacher Ku Shami, his friends, aesthetician Miting, philosopher Han Yue, poet Dongfeng and so on. They often talk loudly, recite poems and compositions, or tease each other in the Ku Shami's house. The main part of the novel revolves around the marriage of the neighbor capitalist Miss Jintian. In order to choose her son-in-law, Mrs. Jintian asked the Ku Shami about the Han Yue. The Ku Shami's arrogant attitude aroused the retaliation of the Mrs. Jintian. Mr. and Mrs. Jintian instigated his colleagues and students to make him restless, which seriously damaged his body and mind. Finally, another student entrepreneur of kushami, Duoliang Sanping, coveted the Jintian family's money, cheated the Miss Jintian’s favor, and ended the novel in their marriage.&lt;br /&gt;
====A study on the original works and translation of I am a cat====&lt;br /&gt;
In the first section, the study on the original and translation of I am a cat is discussed from the perspective of translation. For example, Liushuang (2012) published a paper entitled「文学翻訳における間投詞の働きについてー『吾輩は猫である』の中訳を例にして」, which explains the usage of auxiliary words between the original text and the Chinese translation from the perspective of literal translation and free translation. This paper analyzes the role of interval words in character description, character image description and psychological activity description. Zhang Xiaomin (2015) analyzed the influencing factors of translation methods and strategies according to three translation norms in a study on the translation of nonverbal (expression) expressions - centered on the two translations of I am a cat. In a study「日本文学作品の翻訳研究ー『吾輩は猫である』の両訳本を中心に」, Yang Juan (2015) selected the versions of the mainland Yu’s edition and the Taiwan Zhao’s edition, and analyzed the versions of Yu’s edition and Zhao’s edition by using the synchronic narrative comparative research method.&lt;br /&gt;
According to relevant literature, the original translation is included in the「五四運動以来の日本文学研究と翻訳目次」published by the Institute of Foreign Studies of Northeast Normal University. This translation is published by Fengwen bookstore. The translator is Cheng Boxuan. Later, the people's Literature Publishing House published 『夏目漱石選集』 in 1958.The anthology contains the works translated by Hu Xue and his (that is, You Bingqi) and the works translated by Li Yongwei in Taiwan. Since the 1990s, many translations have been published.&lt;br /&gt;
====Selection of the translation of I am a cat====&lt;br /&gt;
The common target texts in this thesis are translated by Yu Lei in 1993, Liu Zhen in 1994 and Liu Ziqian in 2015. The reasons for choosing these three translations are as follows.&lt;br /&gt;
Among the Chinese versions of I am a cat, Yu Lei's version has been printed the most. It can be said that it has been widely recognized in the mainland.&lt;br /&gt;
Liu zhenzuo is a well-known translator in China. He studied in Japan. I read all kinds of Japanese literary works and translated them into Chinese. As a professor of Japanese literature, he has conducted in-depth research on Natsume Soseki and I am a cat and published many papers.&lt;br /&gt;
It is said to be the most influential translation in academic circles. Therefore, their translation is reliable. The translations of Yu Lei and Liu Zhen were published at the same time. Moreover, the translation background is the same. However, Liu Zhenyan and Yu Lei, who has not studied abroad, have different translation purposes. The translation methods and strategies adopted are also different. Therefore, two translations were selected.&lt;br /&gt;
In Taiwan, there are many translation books of Japanese literary works. There are not only the translations of Taiwanese translators, but also the translations of mainland translators. In the field of Japanese literary translation, exchanges between Mainland China and Taiwan are very frequent. When discussing the translation of Japanese literature in China, the research on the translation of Japanese literature in Taiwan is also very important. It is also meaningful to compare the versions of the mainland and Taiwan. It can enrich each other's language expression ability. Moreover, as a professional translator, Liu Zishu translated many Japanese literary works. In addition, as a modern female translator, its language and performance are different from those of grenade and Daozhen. Therefore, as a representative of Taiwan, I choose Liu Ziqian's translation of I am a cat.&lt;br /&gt;
====The authors of the three translations====&lt;br /&gt;
Translator Liu Zhenying&lt;br /&gt;
Liu Zhen's pseudonym is Liu Nian, Shen Mei. Born in Yang City, Liaoning Province in 1915, he loved reading literary works when he was a child. From 1935 to 1941, he studied at the Higher Normal University of Tokyo University in Japan. After that, he taught Japanese in Beijing Normal University and other universities. He joined the Chinese Writers Association in 1962. After that, he served as the head teacher of the erudite course of Japanese literature. He published 『東方文学作品選』、『日本文学論集』and other works, and translated Japanese literary works such as 『吾輩は猫である』, 『坊ちゃん』 and 『小説神髄』. I am a cat translated by Liu Zhenying was published by Shanghai Translation Publishing House in 1994.&lt;br /&gt;
Translator Yu Lei&lt;br /&gt;
Yu Lei's names are Yu Fei, Duan Tianheng, etc. Born in Hehai City, Jilin Province in 1924, he graduated from the Department of literature of Northeast Normal University in 1950. While serving as literary editor of Liaoning People's Publishing House and northeast people's publishing house, he translated literary works. In 1985, he joined the Chinese Writers Association and published translated works, reportage, poetry and so on. In 1992, he won the title of excellent translator in Liaoning Province. When it comes to Chinese translation, there are 『枕草子』, 『吾輩は猫である』, 『春琴抄』, 『風雪』, 『不如帰』, etc. I am a cat translated by Yu Lei was published by Nanjing translation Lin publishing house in 1993.&lt;br /&gt;
Translator Liu Ziqian&lt;br /&gt;
Because there is little information about Liu Ziqian, I don't know when she was born. After graduating from the Department of Sociology of Taiwan Politics University, Liu Ziqian specialized in sociology at the University College of Tsukuba University in Japan. He is now a professional translator. Translated novels, art, practical and many other kinds of books. Representative translations include 『東野圭吾天王シリーズ』, 『ＬＥＶＥＬ７』, 『名もなき毒』,『誰かsomebody』,『容疑者Ｘの献身』,『女神記』,『蜘蛛男』,『門』,『吾輩は猫である』etc.I am a cat translated by Liu Ziqing was published by big brand culture in 2015.&lt;br /&gt;
====Translation background and purpose of the three versions====&lt;br /&gt;
Translation background and purpose of Liu Zhenying's version&lt;br /&gt;
China and Japan have a long history of cultural exchanges, especially literary exchanges. In the 100 years of the 20th century, China paid special attention to Japan's modern literary world. For China in the early 20th century, Japanese modern literature is the medium between Chinese modern literature and Western literature, which has affected the formation and development of Chinese modern literary thought. In the past century, the translation of Japanese literary works has reached two climaxes. One is the May 4th New Culture Movement period, and the other is the 20 years since the 1980s. Over the past century, the exchanges between China and Japan have also been stagnant for a long time. Until the restoration of diplomatic relations between China and Japan in 1972, China and Japan resumed exchanges in economic, political, social, cultural and other fields. Since the reform and opening up, the literary exchanges between China and Japan have become more and more active. A large number of Japanese writers and literary works were introduced and translated into China. The two countries have conducted frequent exchanges in the field of literature. The translation of Japanese literary works is also very popular.&lt;br /&gt;
Natsume Soseki is a Japanese writer well known to Chinese readers. In 1958,『夏目漱石の小説選』 was published. In the early 1980s, Natsume Soseki's works were translated a lot. 『以来』 (1982), 『心』, 『門』 (1985), 『三四郎』(1983), 『明と暗』 (1984) (translated as 『明暗』in 1987), 『夏目漱石の小説選』 (1984), 『道端草』(1985), 『愛情三部作』 (1988), etc. As for the translation of I am a cat, only the joint translation of Hu Xue and you bingpu in the anthology of Natsume Soseki is included. Moreover, this work brought social practical significance to China at that time. I am a cat translated by Liu Zhenyan and Yu Lei came into being under such a social background.&lt;br /&gt;
Liu Zhenying studied for six years. He not only engaged in Japanese education for many years, but also read modern Japanese literature. Then I was studying Japanese literature. It is said that because of the experience of studying abroad, I can deeply understand Japanese society and have a good grasp of Japanese psychology. Then, after returning home, he taught Japanese in the University. Zhenyan translated I am a cat from the perspective of Japanese literature researchers and Japanese educators and introduced Japanese society to the Chinese people on the basis of feeling Japanese literature and customs. Therefore, there are many Japanese things in his translation.&lt;br /&gt;
Translation background and purpose of Liu Ziqia's version&lt;br /&gt;
In May 1895, Japan began to colonize Taiwan. After more than 50 years of colonial rule, many people were educated in Japanese. There are many Japanese words rooted in Taiwan. Moreover, many universities have also set up disciplines and lectures related to Japanese literature. The National Chengchi University, where Liu Ziqian graduated, opened the Japanese section of the Department of Oriental Philology (now the Department of Japanese Literature) in 1989. In recent years, international conferences on Japanese literature have also been held in Taiwan. There are many translations of Japanese literary works on bookshelves in bookstores in Taiwan. In addition, there are bookstores selling Japanese books instead of translating Japanese books. Japan and Taiwan frequently carry out such cultural exchanges. Liu Ziqian's translation of I am a cat came into being under such a social background. Liu Ziqian specializes in sociology. Then I went to Japan to study. Personally experienced Japanese culture, Japanese society and living habits. Moreover, as a professional translator, Liu Ziqian has translated many Japanese literary works. As a translator in Taiwan, her translation is mainly produced for Taiwanese. There are also many languages in Taiwanese that are the same as Japanese. Therefore, there are many literal translations in Liu Ziqian's translation.&lt;br /&gt;
===An appreciation of the three Chinese versions of I am a cat from Newmark's theories of &amp;quot;semantic translation&amp;quot; and &amp;quot;communicative translation===&lt;br /&gt;
====character description====&lt;br /&gt;
Many character descriptions in the article show the ignorance and ridicule in the depths of human heart. At the same time, from the perspective of &amp;quot;cat&amp;quot;, it reflects the bad behavior and ugly form of human beings. Therefore, in the process of &amp;quot;vilifying&amp;quot; the characters, the exquisite portrait description also plays a great role.&lt;br /&gt;
Example 1：「金田君は妻君に似合わず鼻の低い男である。 単に鼻のみではない、顔全体が低い。小供の時分喧嘩をして、餓鬼大将のために頸筋を捉まえられて、うんと精一杯に土塀へ圧し付けられた時の顔が四十年後の今日まで、 因果をなしておりはせぬかと怪まるるくらい平坦な顔である。」（From I'm a cat ’s Chapter 9）&lt;br /&gt;
Liu Zhenying's translation ：金田君和他的老婆不同，是个鼻子扁平的家伙。不只是鼻子，整个面孔都是扁平的。他那扁平的面孔甚至使人怀疑，是不是在他小时候和顽童们打架，被孩子头儿抓住脖颈狠狠地压到墙上，把脸整个压扁，并且这个报应一直残留到他四十岁的今天。 &lt;br /&gt;
 Yu Lei's translation：此人和太太不同，是个塌鼻子。 不单是鼻子，整个脸都是扁的，令人疑心：是否小时候打架，被孩子王掐住脖子狠狠地往墙上撞，直到四十年后的今天，依然标志着那次战果。&lt;br /&gt;
Liu Ziqian's translation：金田不像太太那样，是个塌鼻子。不单是鼻子，整个脸都是扁平的。以至于叫人不能不疑心：莫非是小时候打架， 他被坏孩子掐住脖子猛劲摁在墙上挤压过，结果直到四十年后的今天，那张脸依然平坦。&lt;br /&gt;
Here is the author's description of Jin Tian. He not only has a short nose, but also has a flat face. 「因果をなしておりはせぬかと怪まるるくらい平坦な顔である」this sentence not only explained the reason for his flat face, but also made a strong mockery of Jin Tian. Liu's translation takes the author as the center and uses semantic translation. The translation basically retains the rhetoric, syntax and structure of the original work. The word &amp;quot;报应(retribution)&amp;quot; makes readers more able to read the feeling of satirizing Jintian. Yu Lei's translation and . Liu Ziqian's translation chose communicative translation in order to make it easier for readers to understand and accept. However, the author believes that the word &amp;quot;战果(fruits of war)&amp;quot; in Yu Lei's translation generally reminds people of the feeling of &amp;quot;fruits of victory, good results&amp;quot;, while Liu Ziqian's translation is a little too plain, so Liu Zhenying's translation here is more in line with the original meaning.&lt;br /&gt;
====treatment methods of cultural phenomena====&lt;br /&gt;
Although China and Japan have many cultural similarities, they still have different cultural characteristics. Therefore, when translating words of such cultural phenomena, we should pay attention to the cultural background of the original language, consider the balance between translation effect and translation loss, and retain the language form of the original language as much as possible on the basis of conveying the deep meaning of the original culture.&lt;br /&gt;
Example 2：「主人は例のごとく書斎へ引き籠（こも)る。小供は六畳の間（ま）へ枕をならべて寝る」（From I'm a cat ’s Chapter 5） &lt;br /&gt;
Liu Zhenying 's translation：主人照例又锁回到他的书斋里去。 主人家的小孩子们在六叠（计算日式房间的面积单位，一叠大致长为 1.9 m，宽为 0.95 m）的房间里并枕入睡。 &lt;br /&gt;
Yu Lei's translation：主人照例钻进书房，孩子们去一个12 m2 的小屋并枕而眠。 &lt;br /&gt;
Liu Ziqian's translation：主人照例钻进书房，孩子们在一个六榻榻米的屋子里并枕甜睡。&lt;br /&gt;
The Quantifier &amp;quot;畳&amp;quot; is used to convey the unique linguistic and cultural characteristics of Japan. Obviously, the three translators have great differences in the translation of &lt;br /&gt;
&amp;quot;六畳の間&amp;quot;. According to Newmark's translation theory, when the content of the original text involves its own unique natural environment, social system and cultural customs, the translator can retain the original language culture, replace it with the target language culture, and choose a neutral expression method. For example, the translator can add notes, free translation or interpretation through transliteration. By adding notes, Liu Zhenying 's translation complements the lack of source culture in the target language, showing different language styles and different cultural colors.The method of annotation not only enriches the language expression of the target language, but also retains the flavor of the original text, reflecting the important role of supplementary interpretation in translation. Yu Lei's translation and Liu Ziqian 's translation use communicative translation and translate directly without direct annotation. The writing is fluent and free of cumbersome feeling. The author believes that Liu Zhenying's translation retains the style of the original text, but as a literary translation, this treatment may be too cumbersome. Yu Lei's translation is an expression completely translated into Chinese. Liu Ziqian's translation of &amp;quot;六畳の間&amp;quot; not only translated the meaning of the original text, but also made readers feel the unique culture of Japan.&lt;br /&gt;
====translation of Proverbs====&lt;br /&gt;
As a unique language form, proverbs represent the profound cultural connotation of the country and have the characteristics of the nation. Therefore, when Translating Proverbs, how to reasonably display the differences between the two cultures through translation, so as not to lose the style of the original work, but also to make the readers fully understand, the translator needs to deal with it through his own translation skills and language ability.&lt;br /&gt;
例 3：「女賢しゅうしてと云う諺はあるが猫賢しゅうして鼠捕り損なうと云う格言はまだ無いはずだ。」（From I'm a cat ’s Chapter 5）&lt;br /&gt;
Liu Zhenying ’s translation：俗语中有女子好耍小聪明的说法，可还没有听说过这样的格言。 “猫儿因好耍小聪明而捉不住老 鼠”。&lt;br /&gt;
Yu Lei ’s translation：虽有“女子无才便是德”的谚语，却还没有“猫捕不到鼠便是德”的格言。 &lt;br /&gt;
Liu Ziqian ’s translation：虽有“女子无才便是德”的谚语，却还没有 “猫捕不到鼠便是德”的格言。&lt;br /&gt;
“女賢しゅうして” ’s the original sentence “女さかしゅうして牛売りそこなう”，It means that a woman seeks temporary tongue fast, but ignores the interests of the overall situation. Yu Lei ’s translation and Liu Ziqian ’s translation translated this sentence into &amp;quot;女子无才便是德&amp;quot;, and translated the latter half of the sentence &amp;quot;猫賢しゅうして鼠捕り損なう&amp;quot; into“猫捕不到鼠便是德&amp;quot;. Although this maintains the content and form of the original text, the phrase &amp;quot;女子无才便是德&amp;quot; means that a woman has moral cultivation only if she does not argue with others, Its background is derived from the feudal historical period in ancient China, so it is not very appropriate to translate it as &amp;quot;女子无才便是德&amp;quot;. In contrast, Liu Zhenying 's translation adopts the means of semantic translation to faithfully express the meaning of the original text, which also enables readers to better understand the connotation of the original text.&lt;br /&gt;
===conclusion===&lt;br /&gt;
This paper analyzes the three versions from the three dimensions of character description, cultural phenomenon words and proverbs’ translation, which proves the feasibility and practical guiding significance of Newmark's translation theory. According to Newmark's text type theory, I am a cat is a kind of expression type text. Semantic translation can highlight different language styles and different cultural colors; Communicative translation can help readers read the text more smoothly and reduce the loss caused by the obstacle of understanding different cultures. By comparing the three versions o, I am a cat , we can see that for the same literary work, there are parts suitable for semantic translation and communicative translation. Semantic translation and communicative translation can also complement each other in the translation of the same part. Therefore, it is impossible for translation to use one method alone, and of course, semantic translation and communicative translation cannot be compared. The two have different emphases, but they are unified with each other. Therefore, when translating literary works, on the basis of faithful understanding of the meaning of the original text, if semantic translation and communicative translation can be combined, perhaps the harmony between the translation and the original text, faithfulness and creation can be realized in the process of translation.&lt;br /&gt;
===Reference===&lt;br /&gt;
[1] (英)杰里米·芒迪.翻译学导论———理论与实践[M].李德凤,译.北京:商务印书馆,2007. &lt;br /&gt;
[2] 俞真.从纽马克翻译理论的发展谈直译与意译[J].汕头大学学报,2000(2):72-76. &lt;br /&gt;
[3] 王政.语义翻译与交际翻译关照下的译文评析——— 简评《红楼梦》中“元春省亲”两种译文[J].黄河大学 学报,2007(1):89-91. &lt;br /&gt;
[4] 线展.论纽马克理论在中日文学作品翻译中的适用性[J].文学语言学研究,2011(8)：41-42. &lt;br /&gt;
[5] 竺家荣.漫谈日本文学翻译[N].文艺报外国文艺, 2012-04-16(11). &lt;br /&gt;
[6] Peter Newmark Approaches to Translation [M].上海：上海外语教育出版社，2001.&lt;br /&gt;
[7] 夏目漱石著 于雷译《我是猫》南京：译林出版社,2010-11.&lt;br /&gt;
[8] 夏目漱石著 刘振瀛译《我是猫》上海：上海译文出版社,2011-01.&lt;br /&gt;
[9] 夏目漱石著 刘子倩译《我是猫》台湾：大牌出版,2015-6.&lt;br /&gt;
[10] 张晓敏 非语言（表情）表达文翻译研究一《我是猫》两中译本为中心南京：南京航空航天大学,2015:21&lt;br /&gt;
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=邱婷婷：On Xu Yuanchong’s poetry translation from the theory of  “Three Beauties” -- Taking ''Three Hundred Tang Poems'' as an example =&lt;br /&gt;
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[[Aesth_App_EN_3]]&lt;br /&gt;
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=吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics =&lt;br /&gt;
[[Aesth_App_EN_4]]&lt;br /&gt;
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吴映红 Wu Yinghong,Hunan Normal University,China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.&lt;br /&gt;
===Key words===&lt;br /&gt;
Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation&lt;br /&gt;
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===题目===&lt;br /&gt;
从翻译美学的角度对《雪国》的审美再现进行比较研究&lt;br /&gt;
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===摘要===&lt;br /&gt;
《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。&lt;br /&gt;
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===1.Inteoduction===&lt;br /&gt;
==1.1Background of the study==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
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==1.2Purpose and significance of the study==&lt;br /&gt;
Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by &amp;quot;Snow Country&amp;quot; will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.&lt;br /&gt;
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Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
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==1.3Prior Research==&lt;br /&gt;
Kawabata Yasunari's &amp;quot;Snow Country&amp;quot; is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of &amp;quot;Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of &amp;quot;Snow Country,&amp;quot; which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.&lt;br /&gt;
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==1.4Research Methodology==&lt;br /&gt;
Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).&lt;br /&gt;
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===2.on the aesthetics of translation===&lt;br /&gt;
==2.1Aesthetic origins of translation==&lt;br /&gt;
Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.&lt;br /&gt;
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]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
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==2.2Definition of Aesthetics of Translation==&lt;br /&gt;
In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.&lt;br /&gt;
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Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern&lt;br /&gt;
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==2.3Aesthetic Theory of Translation==&lt;br /&gt;
In aesthetics, the &amp;quot;aesthetic subject&amp;quot; refers to the aesthetic person, while the &amp;quot;aesthetic body&amp;quot; refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.&lt;br /&gt;
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According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as &amp;quot;emotion&amp;quot;, &amp;quot;knowledge&amp;quot;, &amp;quot;o&amp;quot; and &amp;quot;will&amp;quot;. The so-called &amp;quot;emotion&amp;quot; refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. &amp;quot;Knowledge&amp;quot; refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and &amp;quot;knowledge&amp;quot; determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. &amp;quot;Talent&amp;quot; refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The &amp;quot;will&amp;quot; refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. &amp;quot;Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.&lt;br /&gt;
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Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
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===3 The Land of Snow and its Chinese translation===&lt;br /&gt;
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==3.1Yasunari Kawabata and The Land of Snow==&lt;br /&gt;
Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of &amp;quot;mourning&amp;quot;. The term &amp;quot;mourning&amp;quot; refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which &amp;quot;mourning&amp;quot; means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of &amp;quot;mourning&amp;quot; is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of &amp;quot;mourning&amp;quot; is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of &amp;quot;mourning&amp;quot; in the process of translation and make the readers feel the same way.&lt;br /&gt;
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Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a &amp;quot;celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine &amp;quot;No Generation,&amp;quot; and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach.&lt;br /&gt;
The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an &amp;quot;Eastern-style&amp;quot; nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the &amp;quot;New Sensation Movement&amp;quot;, which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once &amp;quot;tried to deny it and exclude it. &amp;quot; However, in his middle age, Kawabata found that he &amp;quot;had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.&lt;br /&gt;
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Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: &amp;quot;As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash.&amp;quot; &amp;quot;The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death.&amp;quot; The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. &lt;br /&gt;
&amp;quot;This idea of emptiness of Yasunari Kawabata, who &amp;quot;expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction&amp;quot;, is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that &amp;quot;the bodhisattva is a person who is not a person. According to Zen Buddhism, &amp;quot;There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust.&amp;quot; This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. &lt;br /&gt;
Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation.&lt;br /&gt;
例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。&lt;br /&gt;
叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。&lt;br /&gt;
高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。&lt;br /&gt;
韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。&lt;br /&gt;
林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。&lt;br /&gt;
&amp;quot;くっと&amp;quot; is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body.&lt;br /&gt;
For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word &amp;quot;suddenly bent&amp;quot; in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of &amp;quot;curling up&amp;quot; and consider that translating the word &amp;quot;くっと&amp;quot; as it is would overlap semantically with the word &amp;quot;身をすくめる&amp;quot; that follows, so they handle the word flexibly: the Korean translation replaces the phrase &amp;quot;suddenly curling up&amp;quot; with &amp;quot;making a strong effort to curl up&amp;quot;. The Korean translation replaces the word &amp;quot;suddenly curled up&amp;quot; with &amp;quot;hunched up&amp;quot;, while the Lin translation simply omits the word and says &amp;quot;curled up&amp;quot;. These translations are precisely communicative translations adapted to Chinese expression habits.&lt;br /&gt;
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Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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==3.2The aesthetic value of The Land of Snow==&lt;br /&gt;
Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace.&lt;br /&gt;
Although the storyline of &amp;quot;Snow Country&amp;quot; is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.&lt;br /&gt;
In &amp;quot;Snow Country&amp;quot;, the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in &amp;quot;Snow Country&amp;quot; is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.&lt;br /&gt;
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Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.&lt;br /&gt;
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Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
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==3.3The Chinese translation of The Land of Snow==&lt;br /&gt;
Yasunari Kawa's masterpiece &amp;quot;Snow Country&amp;quot; has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries.&lt;br /&gt;
In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example.&lt;br /&gt;
When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel.&lt;br /&gt;
&amp;quot;The train came out of the long tunnel into the snow country. The earth lay white under the night sky.&amp;quot;&lt;br /&gt;
Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation.&lt;br /&gt;
The subject &amp;quot;THE TRAIN&amp;quot; appears in the first sentence of the English translation, but there is no subject corresponding to &amp;quot;TRAIN&amp;quot; in the Japanese original. In the first sentence of the English translation, the subject &amp;quot;the train&amp;quot; appears.&lt;br /&gt;
In the original Japanese work, there is no subject corresponding to &amp;quot;TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be &amp;quot;the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as &amp;quot;went through&amp;quot; and &amp;quot;entered&amp;quot;, but instead, the first and second sentences are set as &amp;quot;When it exited, it was ......&amp;quot;. In the original story, there are no such expressions as &amp;quot;skillfully&amp;quot; and &amp;quot;entered,&amp;quot; but instead, the preamble and postamble are set to &amp;quot;exited and .......&amp;quot; In essence, &amp;quot;exited and ......&amp;quot; and &amp;quot;exited and ......&amp;quot; are completely different narratives, and represent completely different cognitive systems.&lt;br /&gt;
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Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly.&lt;br /&gt;
例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。&lt;br /&gt;
译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。&lt;br /&gt;
In Japanese vocabulary, &amp;quot;onomatopoeic words&amp;quot; are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in &amp;quot;Snow Country&amp;quot;, which has a strong sense of image, is difficult because of the mimetic word &amp;quot;Gosho&amp;quot;. Ye Weiqu translates it as &amp;quot;Kirikou&amp;quot;, and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word &amp;quot;ごそごそ&amp;quot; is explained in the &amp;quot;Dictionary of Chinese Language&amp;quot; as &amp;quot;かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語&amp;quot;, which means The word &amp;quot;ごそごそ&amp;quot; means both sound and action, and Ye Weiqu's translation is the best. The word &amp;quot;叽里哐当&amp;quot; exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined&lt;br /&gt;
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Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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===4.Conclusion===&lt;br /&gt;
Snow Country  is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country&amp;quot; is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice.&lt;br /&gt;
The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.&lt;br /&gt;
Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous &amp;quot;material mourning&amp;quot;, jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.&lt;br /&gt;
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===5.References===&lt;br /&gt;
[1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.&lt;br /&gt;
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[2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.&lt;br /&gt;
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[3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.&lt;br /&gt;
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[4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of &amp;quot;Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.&lt;br /&gt;
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[5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.&lt;br /&gt;
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[6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.&lt;br /&gt;
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[7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.&lt;br /&gt;
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[8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.&lt;br /&gt;
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[9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.&lt;br /&gt;
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		<author><name>Zou Yueli</name></author>
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