Aesth App EN 3 - Revision history

Wu Yinghong: /* 4.Beauty in Sound */

2021-12-14T05:21:02Z

4.Beauty in Sound

Wu Yinghong: /* 2.“Three-Beauty” Theory */

2021-12-14T05:20:02Z

2.“Three-Beauty” Theory

Wu Yinghong: /* References */

2021-12-14T05:18:58Z

References

Wu Yinghong: /* 1. Introduction */

2021-12-14T05:14:48Z

1. Introduction

Qiu Tingting at 15:02, 13 December 2021

2021-12-13T15:02:06Z

Qiu Tingting at 14:45, 13 December 2021

2021-12-13T14:45:55Z

Show changes

Qiu Tingting at 03:29, 5 December 2021

2021-12-05T03:29:49Z

Qiu Tingting at 03:29, 5 December 2021

2021-12-05T03:29:04Z

Qiu Tingting: /* 5.Beauty in Form */

2021-12-05T03:25:18Z

5.Beauty in Form

Qiu Tingting: /* 4.Beauty in Sound */

2021-12-05T03:24:51Z

4.Beauty in Sound

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 ===4.Beauty in Sound===
 One of the reasons for the great artistic charm of Chinese Poetry in the Tang Dynasty is that it pursues the beauty of sound and rhyme, pays attention to the level and oblique tones (The tones in ancient Chinese are divided into four tones: “Level tone” refers to the flatness of the four tones; “Oblique tone” refers to the other three tones), and makes good use of reduplication of words. However, the translation of cross-cultural literary works involves two completely different linguistic symbol systems and phonological combinations. For example, in poetry, one of the compatible combinations of some thoughts and artistic conception in the culture of China is a rhyme, which is a kind of well-arranged prose with musical beauty. However, when the combination of language symbols in the English culture is transformed, its arrangement loses all the rhythmic and music aesthetic feelings in the original text, thus resulting in the loss of cultural aesthetic of rhyme (Bao Tongfa, 2003:55).
 In the English translation of Tang poetry, if we also pursue the beauty of rhyme, it will add another layer of difficulty to the poetry translation. So some translators advocated that there is no need to focus on the sound beauty in poetry translation and it will be suffice that if we entirely convey the meaning of the poem. But professor Xu insisted that the poem should be as beautiful in sound as possible, if we just drop this kind of beauty, there will be losing a lot of aesthetic beauty in Tang poetry (Jiang Mingyu, 2020:138). He tried to make the translation as harmonious and aesthetic as the original poem with strict meter, sentence number and so on. Thus, it is necessary for the translator to retain the “sound beauty” of the original poem for translating Tang poems into English. Take professor Xu’s English translation of tang dynasty poem “To The Riverside Willow”, written by Yong Yuzhi as an example:

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	As we know, poetry translation is a creative translation. Only the translator have grasped the content and the spirit of the original works and find the most appropriate reflection in his own mind, can it be possible for him to have a good translation. Therefore, in Xu’s opinion, literary translation, especially poetry translation is to use the best words to achieve aesthetic effect. Due to the linguistic differences, there must be some loss in various aspects, but by using the best words, the original beauty can be recreated, so the loss can be compensated.(Xu Xiufeng, 2006)		As we know, poetry translation is a creative translation. Only the translator have grasped the content and the spirit of the original works and find the most appropriate reflection in his own mind, can it be possible for him to have a good translation. Therefore, in Xu’s opinion, literary translation, especially poetry translation is to use the best words to achieve aesthetic effect. Due to the linguistic differences, there must be some loss in various aspects, but by using the best words, the original beauty can be recreated, so the loss can be compensated.(Xu Xiufeng, 2006)
		+
		+	His remarks lead us to the conclusion that when we translate something, especially poetry, we should pay attention to three aspects: sensation, sound and form. And the beauty of the senses occupies the first place, the sound the second place, and the form the third place. In other words, the meaning of a poem is of paramount importance, and it cannot be violated in order to achieve other effects. Sound can be taken into account, provided that it does not affect the meaning. Very different from other genres of articles, poetry pays attention to rhythm, which can be read in a catchy and graceful way and allows people to experience the poet's feelings easily. And form is also important, taking sensation and sound into account.
		+	As you know, poetry translation is a creative translation. Unless the translator grasps the content and spirit of the original work and finds the most appropriate reflection in his own mind, he cannot do a good translation. Therefore, Xu believes that literary translation, especially the translation of poetry, is about using the best words to achieve an aesthetic effect. Due to language differences, there must be losses in many aspects, but by using the best words, we can reproduce the original beauty and make up for the losses (Xu Xiufeng, 2006).--[[User:Wu Yinghong\|Wu Yinghong]] ([[User talk:Wu Yinghong\|talk]]) 05:20, 14 December 2021 (UTC)

	===3.Beauty in Sense===		===3.Beauty in Sense===

@@ Line 128: / Line 128: @@
 ===References===
-Bao Tongfa,包通法.(2003)汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版),No.03:55-58.
+Bao Tongfa,包通法.(2003)汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版)Journal of Yanshan University (Philosophy and Social Science Edition)--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.03:55-58.
-He Xiaoli,何晓丽.(2019)论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上）,No.484      (10）:116-117.
+He Xiaoli,何晓丽.(2019)论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上）Literary Education--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.484      (10）:116-117.
-Huang Bingxian, 黄秉祥.(1991)王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横,No.2:64-66.
+Huang Bingxian, 黄秉祥.(1991)王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横Social Science Column,No.2:64-66.
-Jiang Mingy, 江铭钰.(2020)浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上),No.517(09):138-139.
+Jiang Mingy, 江铭钰.(2020)浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上)Literary Education,No.517(09):138-139.
-Sheng Dalin, 盛大林.(2020)王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报,No.36(07):49-57.
+Sheng Dalin, 盛大林.(2020)王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报Journal of Shangqiu Normal College,No.36(07):49-57.
-Pu Hongying, 蒲红英.(2010)从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of "Three Beauties")[J].伊犁师范学院学报(社会科学版),No.01:99-101.
+Pu Hongying, 蒲红英.(2010)从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of "Three Beauties")[J].伊犁师范学院学报(社会科学版)Journal of Ili Normal College,No.01:99-101.
-Wang Quan,王佺.(2015)从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版),No.01:124-128
+Wang Quan,王佺.(2015)从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版)Journal of Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.01:124-128
-Xu Xiufeng, 徐秀峰.(2011)古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学，2006.
+Xu Xiufeng, 徐秀峰.(2011)古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学Ocean University of China--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC)，2006.
-Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社.
+Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社Five Continents Communication Press--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC).
 Zhang Xiao, 张晓.(2012)唐诗“意美”可译性分析——以许渊冲英译《江边柳》和《游子吟》为例(An Analysis of translatability of " beauty in meaning" in Tang Poetry -- A Case study of Xu Yuanchong's English translations of Willow by the River and Song of the Parting Son)[J].长春理工大学学报(社会科学版),No.100(07):170-171.
-Zhou Rongrong, 周蓉蓉.(2020)许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版),No.20(10):129-133.
+Zhou Rongrong, 周蓉蓉.(2020)许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版)Journal of Heilongjiang Institute of Technology--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:18, 14 December 2021 (UTC),No.20(10):129-133.
 Dahlgren ThorsellL, Marta. (1998)“Relevance and the translation of poetry”. Revista alicantina de estudios ingleses. No. 11 . ISSN 0214-4808, pp. 23-32.

← Older revision		Revision as of 05:14, 14 December 2021
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	''Three Hundred Tang Poems'' is a very popular anthology of Tang poetry. The Period of the Tang Dynasty (618-907) was the golden age of Chinese poetry, with a large number of famous poets and more than 50,000 poems. ''Three Hundred Tang Poems'' (in both Chinese and English) completed by Xu Yuanchong is a book published by China International Translation Press in 2007. And the theory of “three- beauty” was well used in the translation of ''Three Hundred Tang Poems''. Therefore, the study of Xu Yuanchong’s translation of ''Three Hundred Tang Poems'', form the perspective of his translation theory “three-beauty” has high practical valve. This paper studies and appreciates the translation of ''Three Hundred Tang Poems'' under the “three-beauty” principles, and it is mainly divided into four parts: some explanation of the “three-beauty” theory, appreciation from the scope of the beauty of meaning, appreciation from the scope of the beauty of sound, appreciation from the scope of the beauty of form.		''Three Hundred Tang Poems'' is a very popular anthology of Tang poetry. The Period of the Tang Dynasty (618-907) was the golden age of Chinese poetry, with a large number of famous poets and more than 50,000 poems. ''Three Hundred Tang Poems'' (in both Chinese and English) completed by Xu Yuanchong is a book published by China International Translation Press in 2007. And the theory of “three- beauty” was well used in the translation of ''Three Hundred Tang Poems''. Therefore, the study of Xu Yuanchong’s translation of ''Three Hundred Tang Poems'', form the perspective of his translation theory “three-beauty” has high practical valve. This paper studies and appreciates the translation of ''Three Hundred Tang Poems'' under the “three-beauty” principles, and it is mainly divided into four parts: some explanation of the “three-beauty” theory, appreciation from the scope of the beauty of meaning, appreciation from the scope of the beauty of sound, appreciation from the scope of the beauty of form.
		+
		+	Three Hundred Tang Poems is a very popular anthology of Tang poetry. The Tang dynasty (618-907) was the golden age of Chinese poetry, with many famous poets and more than 50,000 poems. The book Three Hundred Tang Poems (Chinese and English), completed by Xu Yuanzhong, was published by China International Translation Press in 2007. And the theory of "Three Beauties" is often used in the translation of "Three Hundred Tang Poems". Therefore, it is highly practical to study Xu Yuanzhong's translation of Three Hundred Tang Poems from the perspective of his translation theory "Three Beauties". This paper studies and evaluates the translation of the Three Hundred Tang Poems on the basis of the principle of "Three Beauties", and divides the discussion into four main parts: the explanation of the theory of "Three Beauties", the evaluation from the scope of the beauty of meaning, the evaluation from the scope of the beauty of sound, and the evaluation from the scope of the beauty of form.--[[User:Wu Yinghong\|Wu Yinghong]] ([[User talk:Wu Yinghong\|talk]]) 05:14, 14 December 2021 (UTC)

	===2.“Three-Beauty” Theory===		===2.“Three-Beauty” Theory===

@@ Line 126: / Line 126: @@
 ===References===
-Bao Tongfa,包通法.汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版),2003(03):55-58.
+Bao Tongfa,包通法.(2003)汉英诗歌音韵美的相异性及翻译（The Contrast and Translation of Phonological Beauty in Chinese and English Poetry）[J].燕山大学学报(哲学社会科学版),No.03:55-58.
-He Xiaoli,何晓丽.论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上），2019，No484（10）:116-117.
+He Xiaoli,何晓丽.(2019)论许渊冲“三美”翻译理论的美感再现(On aesthetic representation of Xu Yuanchong’s “Three Beauties” translation theory) [J].文学教育（上）,No.484      (10）:116-117.
-Huang Bingxian, 黄秉祥.王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横,1991(02):64-66.
+Huang Bingxian, 黄秉祥.(1991)王之涣凉州词探奥(Exploration of Wang Zhihuan’s Ode on Liangzhou) [J].社科纵横,No.2:64-66.
-Jiang Mingy, 江铭钰.浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上),2020,No.517(09):138-139.
+Jiang Mingy, 江铭钰.(2020)浅析许渊冲“三美论”在诗歌翻译中的应用(A brief analysis of the application of Xu Yuanchong's theory of three Beauties in poetry translation) [J].文学教育(上),No.517(09):138-139.
-Sheng Dalin, 盛大林.王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报,2020,36(07):49-57.
+Sheng Dalin, 盛大林.(2020)王之涣《凉州词》译文全面考辨(A comprehensive analysis of the translation of Wang Zhihuan’s Ode on Liang Zhou[J].商丘师范学院学报,No.36(07):49-57.
-Pu Hongying, 蒲红英.从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of "Three Beauties")[J].伊犁师范学院学报(社会科学版),2010(01):99-101.
+Pu Hongying, 蒲红英.(2010)从许渊冲“三美”理论看《兰亭诗》(之三)的英译(On the English Translation of Poetry of Lanting (Iii) from Xu Yuanchong's Theory of "Three Beauties")[J].伊犁师范学院学报(社会科学版),No.01:99-101.
-Wang Quan,王佺.从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版),2015(01):124-128
+Wang Quan,王佺.(2015)从二句体、四句体到八句体——绝句与律诗之关系新探(From two-sentence style, four-sentence style to eight-sentence style -- A new exploration of the relationship between quatrains and regulated poems)[J].中国海洋大学学报(社会科学版),No.01:124-128
-Xu Xiufeng, 徐秀峰.古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学，2006.
+Xu Xiufeng, 徐秀峰.(2011)古诗英译美的传递(Translation of ancient poetry into English)[D].中国海洋大学，2006.
-Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社，2011.
+Xu Yuanchong, 许渊冲.《唐诗三百首（中英对照）》(Three Hundred Tang Poems (Chinese and English))，五洲传播出版社.
-Zhang Xiao, 张晓.唐诗“意美”可译性分析——以许渊冲英译《江边柳》和《游子吟》为例(An Analysis of translatability of " beauty in meaning" in Tang Poetry -- A Case study of Xu Yuanchong's English translations of Willow by the River and Song of the Parting Son)[J].长春理工大学学报(社会科学版),2012, No.100(07):170-171.
+Zhang Xiao, 张晓.(2012)唐诗“意美”可译性分析——以许渊冲英译《江边柳》和《游子吟》为例(An Analysis of translatability of " beauty in meaning" in Tang Poetry -- A Case study of Xu Yuanchong's English translations of Willow by the River and Song of the Parting Son)[J].长春理工大学学报(社会科学版),No.100(07):170-171.
-Zhou Rongrong, 周蓉蓉.许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版),2020,20(10):129-133.
+Zhou Rongrong, 周蓉蓉.(2020)许渊冲诗歌翻译思想研究(A study on Xu Yuanchong's poetry translation thoughts)[J].黑龙江工业学院学报(综合版),No.20(10):129-133.
-Dahlgren ThorsellL, Marta. “Relevance and the translation of poetry”. Revista alicantina de estudios ingleses. No. 11 (Nov. 1998). ISSN 0214-4808, pp. 23-32.
+Dahlgren ThorsellL, Marta. (1998)“Relevance and the translation of poetry”. Revista alicantina de estudios ingleses. No. 11 . ISSN 0214-4808, pp. 23-32.
-Dastjerdi, Hossein Vahid, Haadi Hakimshafaaii, and Zahra Jannesaari. "Translation of poetry: Towards a practical model for translation analysis and assessment of poetic discourse." Journal of Language & Translation 9.1 (2008): 7-40.
+Dastjerdi, Hossein Vahid, Haadi Hakimshafaaii, and Zahra Jannesaari.(2008) "Translation of poetry: Towards a practical model for translation analysis and assessment of poetic discourse." Journal of Language & Translation 9.1,pp.7-40.
-Lefevere, André. “The translation of poetry: Some observations and a model.” Comparative Literature Studies (1975): 384-392.
+Lefevere, André. (1975) “The translation of poetry: Some observations and a model.” Comparative Literature Studies,pp.384-392.
-Niknasab, Leila, and Elham Pishbin. "On the translation of poetry: A look at Sohrab Sepehri's traveler." SKASE Journal of Translation and Interpretation 5.1 (2011): 2-23.
+Niknasab, Leila, and Elham Pishbin.(2011) "On the translation of poetry: A look at Sohrab Sepehri's traveler." SKASE Journal of Translation and Interpretation 5.1, pp.2-23.

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 '''3 邱婷婷(On Xu Yuanchong’s poetry translation from “Three-Beauty” Theory -- Taking ''Three Hundred Tang Poems'' as an example)'''
-[Aesth_App_EN_3]
+[[Aesth_App_EN_3]]
 ===Abstract===
 Chinese classical poetry has a long history and is full of romance. Its language is concise, its content is rich and diverse, its form is harmonious and unified, and its rhythm is beautiful, which makes it interesting to read. Poetry, as the highest form of expression in literature, has always been the best way for the literati to express their feelings, so the translation of poetry also puts forward higher requirements for the translator. Xu Yuanchong's theory of three principles provides a new direction and new thinking for the translation of poetry, which has a great guiding role in the practice of poetry translation.The Tang Dynasty was the most prosperous period of Chinese culture, and its poets created a large number of masterpieces with different styles and rich emotions. ''Three Hundred Tang Poems'' translated into English by Xu Yuanchong expressed the content and emotion of the poem vividly. This paper will analyze the “beauty” in Xu’s poetry translation from the three perspectives of  “beauty of meaning”, “beauty of sound” and “beauty of form”.

@@ Line 89: / Line 89: @@
 ===5.Beauty in Form===
 Tang poetry is famous for the metrical, neat antithesis, the length of the former sentences and the latter ones being the same, and scattered well. Form beauty mainly refers to the consistency of lines and stanzas between the translated poem and the original poem. When translating, the translator should try to make the target language readers read the translation with the same effect. If the translated poem and the original poem have the same number of lines, the same number of sections, and the same form in terms of sentence length and antithesis, the beauty of the form of the original poem is basically reflected (Jiang Mingyu, 2020:139). Actually, translation is a kind of imitation, we should do our best to keep the original entity be transformed into the thing that can be as similar as possible, and it doesn’t simply depend on one side but on the whole aspects which it will be seen. However, in the process of translation, we should not blindly pursue the same form, because this rigid correspondence is likely to cause great changes in other aspects of the poem, resulting in great loss to the meaning and sound of the original poem. So according to professor Xu’ “three-beauty” theory, it would be better for those translators to adjust the formal features of the poem to make it consistent with the original poem to the greatest extent without compromising the meaning and rhythm of the original poem. Personally, a certain degree of innovation in the form is not undesirable.Take Professor Xu’s English translation of Tang Dynasty poem “Song Of The Pating Son” as an example:
 慈母手中线，游子身上衣。
@@ Line 108: / Line 109: @@
 From the warm sun can be repaid? (Xu Yuanchong, 2011:208)
 This poem, composed of six lines and thirty characters, expresses the poet’s respect, love and gratitude to his mother, which has resonated with countless people from ancient times till now. The first two sentences describe a scene in which the mother, holding a needle and thread, makes new clothes for her child, which shows the mother’s love in profile. The third and fourth sentences describe the mother’s actions and psychological feelings respectively.

@@ Line 65: / Line 65: @@
 In the English translation of Tang poetry, if we also pursue the beauty of rhyme, it will add another layer of difficulty to the poetry translation. So some translators advocated that there is no need to focus on the sound beauty in poetry translation and it will be suffice that if we entirely convey the meaning of the poem. But professor Xu insisted that the poem should be as beautiful in sound as possible, if we just drop this kind of beauty, there will be losing a lot of aesthetic beauty in Tang poetry (Jiang Mingyu, 2020:138). He tried to make the translation as harmonious and aesthetic as the original poem with strict meter, sentence number and so on. Thus, it is necessary for the translator to retain the “sound beauty” of the original poem for translating Tang poems into English. Take professor Xu’s English translation of tang dynasty poem “To The Riverside Willow”, written by Yong Yuzhi as an example:
 袅袅古堤边，青青一树烟。
 若为丝不断，留取系郎船。（Xu Yuanchong, 2011:525）
 Your long, long branches wave by riverside,
@@ Line 77: / Line 79: @@
 “To tie up my beloved one’s parting boat!”(Xu Yuanchong, 2011:211)
 This is a poem of four line with each containing five characters, and it is named as “五言绝句” in Chinese. This kind form of poem “ five-character quatrain” was not the creation of poets in the Tang Dynasty, but originated from the yuefu poems of the Han and Wei dynasties. Due to the limitation of the number of words, compared with other poetic genres, the “five-character quatrain”should be more concise and generalized in terms of its language and expression techniques, which makes it more difficult to create. Therefore, this kind of poem naturally become the most brilliant pearl in the poetry of Tang Dynasty and is also the essence of that time. (Wang Quan, 2015:125)