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Culture Loaded Words

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4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong

Abstract

Chu Ci is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in Jiu Zhang, nine elegies in Chu Ci, to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt free translation on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.

Key Words

Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation;

题目

《九章》许渊冲译本文化负载词的翻译

摘要

《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了意译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。

关键词

翻译；文化负载词；中国典籍；湖湘文化;文化意象

1.Introduction

1.1 Research Background

In today’s cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges.

Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.

1.2 Research Questions

What are the classification of culture-loaded words in Jiu Zhang？

What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？

1.3 Structure of the Research

Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong and the specific research material Jiu Zhang. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.

2.Literature Review

2.1 Qu Yuan and Chu Ci

Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his "zi" was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu.

Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as "the progenitor of Chinese poetry" and "the progenitor of rhetoric". He is the founder and representative of the "Chu Ci" and started the tradition of "herb and beauty".

In his early years, Qu Yuan was trusted by King Huai of Chu and served as a "Zuotu" and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of "beautiful government". He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.

Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word "兮" is used at the end of the stanzas, as well as "之", "于", "乎", "夫", and "而" and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.

Chu Ci is the earliest collection of romantic poetry and the source of romantic literature. The name "Chu Ci" was first introduced in "The Records of the Grand Historian - Cool Officials". It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.

At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named "Chu Ci". Later, Wang Yi added his own work "Jiu Si", which became the 17th chapters. The 17 chapters are: "Li Sao", "Jiu Ge", "Tian Wen", "Jiu Zhang", "Yuan You", "Bu Jv", "Yu Fu", "Jiu Bian", "Zhao Hun", "Da Zhao", "Xi Shi", "Zhao Yinshi", "Qi jian", "Ai Shi Ming", "Jiu Huai", "Jiu Tan" and "Jiu Si". The structure of these seventeen chapters became the common text in later times.

"Chu Ci" uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.

2.2 Xu Yuanchong

Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)

In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)

2.3 Jiu Zhang

Jiu Zhang, as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are Xi Song (I Make My Plaint), She Jiang (Crossing the River), Ai Ying (Lament for the Chu Capital), Chou Si (Sad Thoughts Outpoured), Huai Sha (Longing for Changsha), Si Mei Ren (Thinking of the Fair One), Xi Wang Ri (The Bygone Days Regretted), Ju Song(Hymn to the Orange Tree), and Bei Hui Feng (Grieving at the Whirlwind).

Xi Song (I Make My Plaint) expresses Qu’s depressed and discontented mood after being attacked politically. She Jiang (Crossing the River) seems a depiction of Qu’s exile footprints and the contradiction between Qu’ virtue and dark reality. Ai Ying (Lament for the Chu Capital) expresses Qu’s concern and compassion for the destroyed nation and suffering people. Chou Si (Sad Thoughts Outpoured) expresses depression after his political suggestions was rejected. Huai Sha (Longing for Changsha) was composed not long before Qu drowned himself; Some believe Huai Sha means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu’s determination to rather die as a martyr for his ideals than to follow the evil. Si Mei Ren (Thinking of the Fair One) reflects Qu’s longing for his majesty, but his reluctance to bend himself to the dark reality.Xi Wang Ri (The Bygone Days Regretted) is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. Ju Song (Hymn to the Orange Tree) is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. Bei Hui Feng (Grieving at the Whirlwind) reveals a sense of melancholy and anguish.

3.Classification of Culture-loaded words in Jiu Zhang

The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.

3.1 Persons

Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide.

3.2 Plants and Animals

One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.

3.3 Places

Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.

3.4 Objects

References

《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South

万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.

白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.

张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.

钱梦雨.文化适应论视角下《楚辞》文化意象的英译——以许渊冲译本为例[J].文教资料,2021(02):55-57.

吴斐,龙卓,罗芸慧.“深度翻译”观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.

@@ Line 14: / Line 14: @@
 === Abstract ===
+Chu Ci is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in Jiu Zhang, nine elegies in Chu Ci, to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt free translation on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.
 === Key Words ===
-Translation；Culture-loaded Words；Chinese Clasics；HuXiang Culture
+Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation;
-=== 题目 《九章》许渊冲译本文化负载词的翻译 ===
+=== 题目 ===
+《九章》许渊冲译本文化负载词的翻译
 === 摘要 ===
+《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了意译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。
 === 关键词 ===
@@ Line 25: / Line 30: @@
-=== Introduction ===
+=== 1.Introduction ===
-==== Research Background ====
+==== 1.1 Research Background ====
-==== Purpose of the Research ====
+In today’s cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges.
-==== Structure of the Research ====
-=== Literature Review ===
+Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.
-==== Introduction of Qu Yuan ====
-Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period. His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his “zi” was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xie, son of King Xiong Tong of Chu.
+==== 1.2 Research Questions ====
-Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as "the progenitor of Chinese poetry" and "the progenitor of rhetoric". He is the founder and representative author of the "Chu rhetoric" and started the tradition of “herb and beauty”.
+What are the classification of culture-loaded words in Jiu Zhang？
+What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？
+==== 1.3 Structure of the Research ====
+Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong and the specific research material Jiu Zhang. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.
+=== 2.Literature Review ===
+==== 2.1 Qu Yuan and Chu Ci ====
+Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his "zi" was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu.
+Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as "the progenitor of Chinese poetry" and "the progenitor of rhetoric". He is the founder and representative of the "Chu Ci" and started the tradition of "herb and beauty".
+In his early years, Qu Yuan was trusted by King Huai of Chu and served as a "Zuotu" and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of "beautiful government". He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.
+Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word "兮" is used at the end of the stanzas, as well as "之", "于", "乎", "夫", and "而" and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.
+Chu Ci is the earliest collection of romantic poetry and the source of romantic literature. The name "Chu Ci" was first introduced in "The Records of the Grand Historian - Cool Officials". It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.
+At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named "Chu Ci". Later, Wang Yi added his own work "Jiu Si", which became the 17th chapters. The 17 chapters are: "Li Sao", "Jiu Ge", "Tian Wen", "Jiu Zhang", "Yuan You", "Bu Jv", "Yu Fu", "Jiu Bian", "Zhao Hun", "Da Zhao", "Xi Shi", "Zhao Yinshi", "Qi jian", "Ai Shi Ming", "Jiu Huai", "Jiu Tan" and "Jiu Si". The structure of these seventeen chapters became the common text in later times.
+"Chu Ci" uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.
+==== 2.2 Xu Yuanchong ====
+Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)
+In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)
+==== 2.3 ''Jiu Zhang'' ====
+''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are Xi Song (I Make My Plaint), She Jiang (Crossing the River), Ai Ying (Lament for the Chu Capital), Chou Si (Sad Thoughts Outpoured), Huai Sha (Longing for Changsha), Si Mei Ren (Thinking of the Fair One), Xi Wang Ri (The Bygone Days Regretted), Ju Song(Hymn to the Orange Tree), and Bei Hui Feng (Grieving at the Whirlwind).
-According to Si Ma Qian's words in “The Records of the Grand Historian”, there is also “The Invocation of the Soul”.
+Xi Song (I Make My Plaint) expresses Qu’s depressed and discontented mood after being attacked politically. She Jiang (Crossing the River) seems a depiction of Qu’s exile footprints and the contradiction between Qu’ virtue and dark reality. Ai Ying (Lament for the Chu Capital) expresses Qu’s concern and compassion for the destroyed nation and suffering people. Chou Si (Sad Thoughts Outpoured) expresses depression after his political suggestions was rejected. Huai Sha (Longing for Changsha) was composed not long before Qu drowned himself; Some believe Huai Sha means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu’s determination to rather die as a martyr for his ideals than to follow the evil. Si Mei Ren (Thinking of the Fair One) reflects Qu’s longing for his majesty, but his reluctance to bend himself to the dark reality.Xi Wang Ri (The Bygone Days Regretted) is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. Ju Song (Hymn to the Orange Tree) is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. Bei Hui Feng (Grieving at the Whirlwind) reveals a sense of melancholy and anguish.
-In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with five, six, seven, eight, or nine characters per stanza, as well as three-character and cross-stanzas, with a varied and flexible syntax; the word "兮" is used at the end of the stanzas, as well as "之," "于," "乎," "夫," "而," and other imaginary words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form.
-Qu Yuan's Chu rhetoric is the most imaginative, and his words are very beautiful. In "Li Sao", he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid, and he also prominently depicted the story of three times of seeking a woman to express his own persistence and comparison. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.
+=== 3.Classification of Culture-loaded words in Jiu Zhang ===
+The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.
+==== 3.1 Persons ====
+Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide.
-The emergence of Qu Yuan marked a new era in Chinese poetry, from collective singing to individual creation. In his early years, Qu Yuan was trusted by King Huai of Chu and served as a left apprentice and a great official of Sanlu, who was also in charge of domestic and foreign affairs. After Wu Qi, Qu Yuan was another advocate of law change in Chu. He advocated the "beautiful government", and advocated the appointment of virtuous people and the revision of laws internally, and the alliance with Qi against Qin externally. He was exiled to the north of Han and the Yuan-Xiang valley because he was ostracized and slandered by the nobles. In 1953, the 2230th anniversary of Qu Yuan's death, the World Peace Council adopted a resolution to identify Qu Yuan as one of the world's four cultural celebrities to be commemorated that year.
+==== 3.2 Plants and Animals ====
+One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.
-==== Introduction of Chu Ci ====
+==== 3.3 Places ====
-Chu Ci is the earliest collection of romantic poetry and the source of romantic literature. The name "Chu Ci" was first mentioned in “The Records of the Grand Historian - Cool Officials”. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the Chu region, but only later did it become a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.
+Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.
-At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of sixteen poems, which was named “Chu ci”. This is the ancestor of the collection. Later, Wang Yi added his own work "Jiu Si", which became 17 pieces. The seventeen chapters are: "Li Sao", "Jiu Ge", "Tian Wen", "Jiu Zhang", "Yuan You", "Bu Jv", "Yu Fu", "Jiu Bian", "Zhao Hun", "Da Zhao", "Xi Shi", "Zhao Yinshi", "Qi jian", "Ai Shiming", "Jiu Huai", "Jiu Tan" and "Jiu Si". The structure of these seventeen chapters became the common text in later times.
+==== 3.4 Objects ====
-The book uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu region, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with spirited feelings and strange imagination. Compared with the simple quatrain poems of the Book of Songs, the stanzas of the book are more lively and sometimes use the dialect of the state of Chu, which is unique in terms of rhythm and rhyme, making it more suitable for expressing rich and complex thoughts and feelings.
-.........
-Body.....
 === References ===
@@ Line 64: / Line 102: @@
 吴斐,龙卓,罗芸慧.“深度翻译”观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.
-.....

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