Preface
Hong Lou Meng (HLM for short in this thesis) is a great classical Chinese novel written in the mid-eighteenth century during the reign of Emperor Qianlong of the Qing Dynasty. Intertwined with the tragic love between Jia Baoyu and Lin Daiyu, this novel depicts multifarious contradictions in four big aristocratic families represented by the family of Jia, and displays many characteristics of Chinese feudal culture, including clothing, food, architecture, social system, conventions, philosophy, education and art, etc. The novel involves over two hundred beautiful and well-designed traditional verses which not only constitute an inseparable part of the whole work, but also reflect traditional Chinese culture.
Up till now, HLM has been translated into over a dozen foreign languages including 9 English versions, among which Yang Xianyi & Gladys Yang’s A Dream of Red Mansions and David Hawkes & John Minford’s The Story of the Stone are complete versions and the two most outstanding ones. Compared with studies on the translation of the narration in this novel and the cultural information in various aspects in daily life, studies on the translation of its poetry are to be further deepened.
In this thesis, the author would view the English translation of the poetry in this novel from the reproduction of the writer’s intentions and the conveyance of “Three Beauties”. By studying the translation of these poems, we may see the necessity and possibility of the translation of the poetry in this novel.
The principle of the “Three Beauties” which is a guide to the translation and criticism of poetry refers to “beauty in sense, beauty in sound and beauty in form”. It has been put forward again by Professor Xu Yuanchong based on his predecessors’ research and his own practice. It means that the translator of poetry should endeavor to make his/her version faithful to the original. But he/she should not stop just here: from this point the translator must continue his/her effort to bring out the original beauties in sense, in sound and in form, that is, to transfer rhymed verses into rhymed ones. In this thesis, the analysis and assessment of the “Three Beauties” involve examination of the use of imagery, rhyme and rhythm and the arrangement of lines.
Translation is considered as a process actualized by the translator who has his/her own subjectivity. But his/her subjectivity is closely related to the society in which he/she lives. Certain ideology and dominant poetics will definitely exert influences on an individual translator. Hence, different translators may adopt different translation strategies according to their own purposes.
Besides, it is well known that although translation deals with languages, it actually tackles different cultures, particularly in literary translation. To bridge two cultures, some translators take the “domestication” as a way; the others take the “foreignization”. One function of translation, especially of literary translation, is to promote intercultural communication which should be based on mutual respect. Communication needs bilateral efforts: the translator and the reader. Neither of the two ways alone can achieve successful communication. Therefore whether the translator should be too considerate for the reader is under discussion. In this thesis the author is also trying to have a discussion on it.
毕业设计（论文）原创性声明和使用授权说明
原创性声明
本人郑重承诺：所呈交的毕业设计（论文），是我个人在指导教师的指导下进行的研究工作及取得的成果。尽我所知，除文中特别加以标注和致谢的地方外，不包含其他人或组织已经发表或公布过的研究成果，也不包含我为获得 及其它教育机构的学位或学历而使用过的材料。对本研究提供过帮助和做出过贡献的个人或集体，均已在文中作了明确的说明并表示了谢意。
作 者 签 名： 日 期：
指导教师签名： 日 期：
使用授权说明
本人完全了解 大学关于收集、保存、使用毕业设计（论文）的规定，即：按照学校要求提交毕业设计（论文）的印刷本和电子版本；学校有权保存毕业设计（论文）的印刷本和电子版，并提供
目录
工贸企业有限空间作业目录特种设备作业人员作业种类与目录特种设备作业人员目录1类医疗器械目录高值医用耗材参考目录
检索与阅览服务；学校可以采用影印、缩印、数字化或其它复制手段保存论文；在不以赢利为目的前提下，学校可以公布论文的部分或全部内容。
作者签名： 日 期：
学位论文原创性声明
本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取得的研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写的成果作品。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律后果由本人承担。
作者签名：
日期： 年 月 日
学位论文版权使用授权书
本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权 大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。
涉密论文按学校规定处理。
作者签名：
日期： 年 月 日
导师签名： 日期： 年 月 日
指导教师评阅书
指导教师评价：
一、撰写（设计）过程
1、学生在论文（设计）过程中的治学态度、工作精神
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、学生掌握专业知识、技能的扎实程度
□ 优 □ 良 □ 中 □ 及格 □ 不及格
3、学生综合运用所学知识和专业技能
分析
定性数据统计分析pdf销售业绩分析模板建筑结构震害分析销售进度分析表京东商城竞争战略分析
和解决问题的能力
□ 优 □ 良 □ 中 □ 及格 □ 不及格
4、研究
方法
快递客服问题件处理详细方法山木方法pdf计算方法pdf华与华方法下载八字理论方法下载
的科学性；技术线路的可行性；设计
方案
气瓶 现场处置方案 .pdf气瓶 现场处置方案 .doc见习基地管理方案.doc关于群访事件的化解方案建筑工地扬尘治理专项方案下载
的合理性
□ 优 □ 良 □ 中 □ 及格 □ 不及格
5、完成毕业论文（设计）期间的出勤情况
□ 优 □ 良 □ 中 □ 及格 □ 不及格
二、论文（设计）质量
1、论文（设计）的整体结构是否符合撰写
规范
编程规范下载gsp规范下载钢格栅规范下载警徽规范下载建设厅规范下载
？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、是否完成指定的论文（设计）任务（包括装订及附件）？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
三、论文（设计）水平
1、论文（设计）的理论意义或对解决实际问题的指导意义
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、论文的观念是否有新意？设计是否有创意？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
3、论文（设计说明书）所体现的整体水平
□ 优 □ 良 □ 中 □ 及格 □ 不及格
建议成绩：□ 优 □ 良 □ 中 □ 及格 □ 不及格
（在所选等级前的□内画“√”）
指导教师： （签名） 单位： （盖章）
年 月 日
评阅教师评阅书
评阅教师评价：
一、论文（设计）质量
1、论文（设计）的整体结构是否符合撰写规范？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、是否完成指定的论文（设计）任务（包括装订及附件）？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
二、论文（设计）水平
1、论文（设计）的理论意义或对解决实际问题的指导意义
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、论文的观念是否有新意？设计是否有创意？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
3、论文（设计说明书）所体现的整体水平
□ 优 □ 良 □ 中 □ 及格 □ 不及格
建议成绩：□ 优 □ 良 □ 中 □ 及格 □ 不及格
（在所选等级前的□内画“√”）
评阅教师： （签名） 单位： （盖章）
年 月 日
教研室（或答辩小组）及教学系意见
教研室（或答辩小组）评价：
一、答辩过程
1、毕业论文（设计）的基本要点和见解的叙述情况
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、对答辩问题的反应、理解、表达情况
□ 优 □ 良 □ 中 □ 及格 □ 不及格
3、学生答辩过程中的精神状态
□ 优 □ 良 □ 中 □ 及格 □ 不及格
二、论文（设计）质量
1、论文（设计）的整体结构是否符合撰写规范？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、是否完成指定的论文（设计）任务（包括装订及附件）？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
三、论文（设计）水平
1、论文（设计）的理论意义或对解决实际问题的指导意义
□ 优 □ 良 □ 中 □ 及格 □ 不及格
2、论文的观念是否有新意？设计是否有创意？
□ 优 □ 良 □ 中 □ 及格 □ 不及格
3、论文（设计说明书）所体现的整体水平
□ 优 □ 良 □ 中 □ 及格 □ 不及格
评定成绩：□ 优 □ 良 □ 中 □ 及格 □ 不及格
（在所选等级前的□内画“√”）
教研室主任（或答辩小组组长）： （签名）
年 月 日
教学系意见：
系主任： （签名）
年 月 日
Chapter One Introduction
1.1 The Current Study on the Translation of the Poetry in HLM
Hong Lou Meng is regarded as an “encyclopedia” of Chinese feudal society not only for the richness of its content but for its successful integration of almost all the literary techniques. One of the most prominent accomplishments of HLM is a large number of verses which splendidly add to its artistic value, totally over 230 with various artistic forms, including shi(poem), ci(poetry written to certain tunes, patterns and rhymes), qu(a type of verse for singing), fu (rhyme prose), lei (funeral eulogy), pian(parallel prose), and lian (couplets).
As far as the poetry in it is concerned, few Chinese readers can understand in true sense what they mean, so that the poetry is “omitted” or neglected in translating and reading. But in actual fact, poetry is an indispensable part of the novel. Not seeing into or understanding it while reading must be a great loss in getting the soul of the whole work. In recent years, relevant researches in the poetry’s translation have flourished. Professor Wang Hongyin from Nankai University published《<红楼梦>诗词曲赋英译比较研究》in 2001, which signified a good beginning of systematic research on HLM translation. Some postgraduates have also participated in the studies of poetry translation in HLM. Yang Li, once a postgraduate from Northwestern University, adopted Peter Newmark’s “semantic translation” and “communicative translation” as her guidance in her dissertation “A comparative Study on Cross-culture Translation of Some Poems, Ci, Songs, Fu and Allusions in Two English Versions of Hong Lou Meng”(Yang, 2004) Liu Yumei from Sichuan University adopted Xu Yuanchong’s “Three Beauties” in her dissertation “On Yang Xianyi and Gladys Yang’s Translation of Poems in Hong Lou Meng (Revised)”(Liu,2004). Besides, various articles were written to research into the translation of poetry in HLM. Such as: “the Translation of Some Code Words in the Poems of Hong Lou Meng”(1994), “The Seven English Versions of Haoliaoge” (1996) ,“An analysis of Several Poems in the English Version of Hong Lou Meng by Yang Xianyi and Gladys Yang”(1998), “The Translation of the Cultural Contents of Poems in Hongloumeng” (2004), “The Comparative Study of the Haoliaoge Zhu” (2004), “On Foreignization and Domestication from the Poem Translation of Hong Lou Meng” (2004) etc.
These books and articles are very helpful for the researchers and translators to deepen their studies in the poetry translation in HLM and improve their translation technique.
1.2 A Brief Introduction to Two English Versions of HLM
As a cultural book of Chinese people, Hong Lou Meng has aroused increasing interest among the foreigners. So far there have been only two complete versions of it. One is A Dream of Red Mansions translated by Yang Xianyi and his wife Gladys Yang, the other is The Story of the Stone by David Hawkes and his son-in-law John Minford. When the two versions appeared one after the other during 1970s, the translation field was shaken. They are successful and spoken highly of by the translation scholars and the press both at home and abroad. The publication of the two complete versions is a milestone on the way of Chinese cultural exportation and leads Redology to a new horizon. Professor Zhou Jueliang made his comment on the two versions as follows:
Despite different styles presented in these two versions, both of them achieved the goals set by their translators. The version by David Hawkes is famous for its elegance, while Yang Xianyi and Gladys Yang’s is remarkable for accuracy…If reading them together, those who are unable to read the original will acquire the real and complete picture about this novel as they do read(Zhou1994:350).
The two versions are complementary to each other. These two versions vary greatly in their styles. For Yang, who has been under the great influence of Hong Lou Meng in his native culture, it’s not easy for him to shake off this influence. Gladys Yang expressed her pity “we enjoyed little freedom in our translation” (Henderson et al.1980:PP36). But Hawkes obviously enjoyed more freedom in his translation, because in his culture, only the Bible and works of Homer and Shakespeare and a few others can be included into “classical works” and Hong Lou Meng, as a Chinese novel, is certainly excluded out of its mainstream literature. Though since the 18th century, many western people have already discovered the charm of ancient Chinese classical works, these works are still refused outside the mainstream. Therefore, Hawkes shares much more freedom in his translation. (魏芳,2004:107―121)
1.2.1 The Story of the Stone by David Hawkes
It was until the 1970s that the complete English version of HLM appeared. The Story of the Stone by the British Sinologist David Hawkes marks the start of the book’s complete translation period in the west. The whole version consists of five volumes and Hawkes’ son-in-law John Minford finished the later two volumes under the guidance of Hawkes. Penguin Books Ltd. of England published its first 26 chapters in 1973 and it was not until 1986 that its publication was finally completed.
Hawkes makes a profound research into the original book and masters the comparatively updated information about the book’s background. He admits that “I have relied heavily on the published researches of Chinese scholars like Yu Pingbo（俞平伯）, Zhou Ruchang（周汝昌）,Wu Shichang（吴世昌） and Zhao Gang（赵刚）—particularly the last, whose theories on a number of controversial issues seem to me the most convincing.”(Introduction,17).He points out in his Introduction that “the psychological insight and sophisticated humor with which it is written can often delude a reader into judging it as if it were a modern novel…his numerous rewriting and the various mythopoeic ‘devices’ with which his novel is littered all testify to his struggle to find some sort of framework on which to arrange his inchoate material”. From this statement we can see Mr. Hawks’ keen insight of the artistic essence of the original book. He also tells that “My one abiding principle has been to translate everything—even puns. For although this is, in the sense I have already indicated, an ‘unfinished’ novel, it was written (and rewritten) by a great artist with his very life blood. I have therefore assumed that whatever I find in it is there for a purpose and must be dealt with somehow or other. I cannot pretend always to have done so successfully, but if I can convey to the reader even a fraction of the pleasure this Chinese novel has given me, I shall not have lived in vain.”(Introduction, 46). The educational Supplement to Times Newspaper regards Hawkes’ version as “one of the best translated works of English” and the magazine Making Friends holds that it is the milestone in rendering the Chinese literature works into English.
1.2.2 The Yangs’ A Dream of Red Mansions
In 1978 and 1979, the Foreign Language Press of China (Beijing) published the translation A Dream of Red Mansions—the complete English version in three volumes by the famous Chinese scholar Yang Xianyi (1915- ) and his wife Gladys Yang (1919-1999). This translation has been regarded as the most faithful one so far and is popular in China as well as accepted in English-speaking countries.
Yang and his wife have devoted almost all their lives to the translating of the Chinese classics and have made great contributions to the cultural exchanges between China and the rest of the world. They take introducing the cultural heritage of China to the outside world as their responsibility and try their best to be faithful to the original works. Apparently, they do not have a comprehensive translation theory as some others do, but they do have their own principles. In 1980, when they were interviewed about some problems in literary translation by the chief editor of an Australian magazine Hemisphere, Mr. Yang said that, “translating the Chinese classic is not an easy job—one has to find an approximate translation, but at the same time, it must be accurate, keeping the meaning as close as possible to the original.” They also mentioned David Hawkes and his The Story of the Stone. Mrs. Yang spoke highly of Hawkes, “We take too few liberties, a translator we admire very much, David Hawkes, is much more creative than us. We tend to be rather pedantic and the readers lose their interest, we are too literal”, while Mr. Yang’s opinion is that “one can’t explain too much in the process of translation. He should try the best of his ability in sticking to the original images, neither exaggerating nor adding something to them. Of course, if one can by all means find no equivalence of the original, some of the original meaning will surely be lost. However, overemphasizing the importance of the creativity is not right, because in that case, one is doing the rewrite instead of the translation—we must be very faithful to the original.” Of course, Yang’s “faithfulness” is to the meaning of the original work as well as the Chinese culture and national self-confidence instead of mechanically sticking to the original words.
1.3 Necessity of the Research
As for the high praise of the celebrated book, the various versions of the book appear. And with the versions occurring, there are more and more translation studies on the subject, whether it is from the perspective of culture, linguistics, image or aesthetics, etc. Once the significance of the poetry in the book has been ascertained, the translation study of poetry must have become in focus. But how to render the classical poetry into English and help foreign readers to appreciate better the charms of classical Chinese poetry has long been a tricky and controversial issue in the translation circle. Although the study of the book has concerned most aspects, the study on the poetry in the book comparatively does less.
The translator’s subjectivity is involved throughout the procedure of translation, from the perspective of hermeneutics, translation should be understood as a process in which translators understand and interpret on the basis of their own linguistic competence and cultural background, etc. The translator’s subjectivity is one of the most important elements that directly affect the outcome of translation practice. A translator is more humble when he is fully aware of his existential limitation in his relation to the source text. As he admits that neither his reading nor his rendering is the absolutely right one, he can be more honest to his personal understanding and interpretation.
Thus in this paper the discussion will be primarily focused on application of the translator’s subjectivity in the English versions of the poetry in Hong Lou Meng in order to show that the theory plays a practical and beneficial role in the translation study of the poetry.
Chapter Two The Translator’s Subjectivity
2.1 Definition of Translator’s Subjectivity
As is known to all, the translator is the subject of translation. However, if we do not define translation only as the translating activity itself, but all the factors concerning the whole course of translating activity, then both the author of the original and the readers of the translated version should also be the subjects of the translation. Of the three subjects, the subjectivity of translator goes through the whole course of translation while that of the author of the original and the readers of the version are only represented in some parts concerned. In the paper A Hermeneutic Approach to Translators’ Subjectivity, Yuan Li (2003:74-78) constructs a new schema of four essential elements in which the translator is in direct connection with the other three: the original, the version and the world (including the readers of the version). By analyzing the schema, Yuan Li clearly points out that the translator is the centre of the cycle which is composed of the four elements. Just as what Berman says, the translating motive, the translating purposes and the translating strategies together with his tendency in making choices all make the translator the most active factor in doing translation (Xu Jun, 2003:6-11).
Then what is translator’s subjectivity? At first, we should make clear what the subjectivity is. Subjectivity is the essential characteristic of the subject which are represented in the activity operated on the objects. Specifically speaking, subjectivity is the externalization of the essential powers in the activity performed on the objects and the characteristics to initiatively change, influence, control the objects and make the objects to serve the subject (Wang Yuliang, 1995:34-38).
The object of the translator’s activity is the original. The translator’s task is to transform the original of the source language into version of the target language by making full use of his subjective initiative. Surely the subjectivity of the translator can never be abused without any limitation. He is to be restricted by many factors such as the different linguistic features and usage of the two languages, the culture and aesthetics of the original, the society the translator lives in, the translating strategies of that particular period, and so on.
Therefore, the translator’s subjectivity is the subjective initiative represented in the translation activities which aim at the realization of translating purposes, with the presupposition of the respects of the translator to the author and the original. Its essential characteristics are the cultural consciousness the humanistic characters, as well as the cultural and aesthetic creativities.
2.2 The “Cultural Turn” in Translation Studies
It is not until the “Cultural Turn” in the 1970s that the inferior status of the translator began to change.
“There have been two shifts in western translation studies in the twentieth century. One is the ‘Linguistic Turn’ during the 1950s and 1960s; the other is the ‘Cultural Turn’ since the 1970s. ” (Xie Tianzhen, 2004:3)
Since the 1970s and 1980s, a group of literary translators such as Holmes, Lefevere, Bassnett, Vermere, and Venuti have questioned the linguistic approach to translation and advocated translation studies should develop as an independent academic discipline. They argue that translation should be understood more as a cultural than a linguistic transfer, and translation practice is no longer a “transcoding” from one context into another, but a kind of communication. In translation theory, this event is called the “Cultural Turn.” (Pan Wenguo 2002:34) Hans J. Vermeer (1989:23) points out that transformation is first and foremost a “cross-cultural” transfer. Therefore, the translator should try to be effectively bilingual and bicultural. Translation studies are more concerned with the “the function of the target text” rather than “prescriptions of the source text”. This target-oriented approach, therefore, puts the cultural identities and roles of the translator in the foreground, and translation studies also begin to focus on the relationship between the translator and the target culture, especially the influences exerted by translated works on the target culture.
The “Cultural Turn” has far-reaching influences on translation history because it breaks the boundary set by traditional paradigms, liberating the translator from an inferior and subordinate status to a freer and more independent position, thus expanding the dimensions and approaches of translation studies. Since the “Cultural Turn”, increasing attention has been paid to the external subjectivity of the translator who, besides influencing translation by his visual field, choice, and way of thinking, participates in and contributes to the construction of the world culture and literature. Furthermore, because of being rooted in different perspectives, the exploration into the translator’s subjectivity becomes more comprehensive and systematic.
2.3 Review of Studies on Translator’s Subjectivity
Translation today is not limited to literature and religion any more, but is extended to broader areas such as culture, science, and economy, etc., in order to meet all kinds of demands from economic and cultural development of the world. Consequently, the concerns of translation theories are unusually broad. At present, theoretical problems of translation are far more beyond the traditional focuses on the transfer of text and content. Translation studies have undergone the Cultural Turn and much academic attention has been shifted from the relations between translation and the source text to that between the translation and the target culture. Therefore, the translator, who is the producer of the translation, has inevitably fallen into the scope of translation studies and become an increasingly important subject. More and more translation scholars, both in China and in the West, have been busily engaging themselves in the research of the subjectivity of the translator.
2.3.1 The Study on the Translator’s Subjectivity in the west
In the past three decades, the study of translation has gained much of its nourishment from the broad social context that features rapid developments in a variety of disciplines, among which, the literary or philosophical approach to translation with Hermeneutics as a representative one has spread a new landscape for translation studies. In brief, hermeneutics emphasizes the translator’s active interpretation of literary texts. The translator is not a passive recipient of meaning but an active and creative subject in creating meaning. In light of hermeneutics, the translator cannot be excluded from his pre-understanding which certainly includes his aesthetic tendency and cultural orientation molded by his education, experiences and social background, in the complex process of interaction with the source text. Thus, both subjective and objective factors inevitably interfere in the translator’s interpretation of the source text, so that any translation, to some degree, will reflect the translator’s own mental outlook and idiosyncrasies, namely the translator’s subjectivity.
Apart from the great impact of literary approach on the study of translators, the development of contemporary translation theories since the 1970s such as Skopostheorie, Feminist approaches, Postcolonial approaches, etc. provides fertile soil in this emerging field.
According to Skopostheorie, any translating can be regarded as an action and any action has its purpose. The top-ranking rule for any translation is the “Skopos rule”, which says that “the end justifies the means” (Reiss and Vermeer 1984:101, cit. Nord 2001:29). It means that translation strategies and methods are determined by the purpose and the intended function of the target text. This theory goes beyond the traditional equivalence-based translation views, and is intended to solve the eternal dilemmas of “literal translation” vs. “free translation”, “dynamic equivalence” vs. “formal equivalence”, “domestication” vs. “foreignization” and so on, which have puzzled the translation circle over a long period of time. The translator can adopt the way of word-for-word translation, or employ the method of complete rewriting or use any translation strategies between these two extremes, depending on the purpose for which the translation is needed. Therefore, Skopostheorie gives the translator a new perspective to decide which strategy will be employed in the whole process, which undoubtedly manifests the subjective status of the translator in translation activity.
Feminist approaches to translation also focus their attention on the target text as well as the translator, and distrusts the utmost authority of the source text. The feminist theorists see a parallel between the status of translation, which is often considered to be derivative and inferior to the source text, and that of women, so often repressed in society and literature. This is the core of feminist translation theory, which seeks to identify and criticize the tangle of concepts that relegates both women and translation to the bottom of the social and literary ladder (Li Heqing, 2005:134). Feminist theorists advocate the visibility of translators, and require that translators be freed from the yoke of the source text and that the target text acquire equal status as that of the source text. It highlights the importance of the cultural context in which the translation is done and the translator’s subjective status in translation activity.
From the contemporary translation theories above, we can see that the translator’s humble position has been elevated to a great extent and his subjective status has become more and more visible in the study of translation. These contemporary translation studies exhibit very wide academic horizon by a variety of innovative views on translation issues from different perspectives. Evidently, these innovative views are not directly aimed to bring the translator’s subjectivity to the foreground, but they cannot rule out the translator and his subjectivity in the discussion of a particular perspective since their focuses are inevitably related to the translator’s subjectivity, such as his translation purpose, ideology and cultural orientation, etc. Therefore we can conclude that although the contemporary translation studies in the West do not comment on translator’s subjectivity in a direct way and there is no specialized academic writing devoted wholly to this area, their innovative findings provide a good foundation for the study of translator’s subjectivity. In recent years, academic writings on translator’s subjectivity have increasingly appeared in China, which make the study of translation subject more significant.
2.3.2 The Study on the Translator’s Subjectivity in China
As a matter of fact, the study on individual translators in China has a long history. It can be traced back to the age of Yan Cong (彦琮) (557-610). In his essay Bian Zheng Lun, he put forward eight qualifications for translators, which he thought a qualified translator must possess when translating Buddhist Scriptures. According to Chen Fukang (2000:29), Yan Cong is the earliest person to make a systematic discussion on the subject of translation activity—the translator himself in the history of Chinese translation criticism. Since then, some other scholars continued to attach importance to individual translators, but their voices about translators were weaker than other translation concerns. Under the tremendous influence of contemporary literary and translation theories as well as discoveries in other academic disciplines such as history, anthropology, psychology, etc., increasing attention has been paid to the study of translators and studies on outstanding translators have began to come in press since the 1980s, such as Lin Shuh’s Translation written by Qian Zhongshu, On the Translator Yan Fu by Gao Huiqun and Wu Chuangun, Fu Lei and His World by Jin Shenghua and so on.
However, the real systematic study on the translator’s subjective aspect and subjectivity has appeared only in recent years. Many Chinese scholars have carried out researches on the roles the translator plays in translation activity. Yang Wuneng (1987:3) declares that the translator is doubtlessly at a pivot position during the whole creative activity, playing the most active role in literary translation. He (2003:12) proposes that the translator is the subject of literary translation and the research on translators should become an important integral part of translation studies. He calls on people to respect translators and attach more importance to the contribution they have made to the development of a society. Yuan Li (2002:406) regards the translator as the only subjective factor in translation and states that the translation subjectivity equals to the translator’s subjectivity. In her essay A Hermeneutic Approach to the Studies of Translator’s Subjectivity, she claims that translation is not a faithful rendering of the original but a creative representation; the relationship between the translator and the original text should be that of interaction, negotiation and integration (2003:74). In the article Creative Treason and the Establishment of Translational Subjectivity, Xu Jun claims that translation is a special creativity of art and the translator faces the dilemma of “fidelity” and “treason” in the process of translation. He also holds that when we define the translation subjectivity, we have to take the subjectivity of the author of the source text and the reader of the target text into account, but it is the translator who is in the central position (2003:11). Xie Tianzhen argues that the creative endeavor of the translator in literary translation shows his subjective desire to approach and reproduce the source text with his artistic creativity and the creative treason reflects the translator’s intentional deviation from the source text so as to realize his cultural purpose (1999:137).
Some other scholars like Gao Ning (1997), Shu Qizhi and Yang Hua (1999), Zha Mingjian and Tian Yu (2003), Sun Yifeng (2003), Hu Gengshen (2004) and Chen Daliang (2004), etc. have made specialized researches on the translator’s subjectivity from a variety of angles, which have broadened the research on translational subjectivity and offered useful guidance for translation practice. The development and achievement of this field provide an effective perspective for interpreting the translation of the poetry in two English versions of Hong Lou Meng, and that will be discussed in the key chapter of this thesis.
Chapter Three A Comparative Study of the Poetry Translation in the Two English Versions of HLM
3.1 The Translator’s Subjectivity from the Perspective of Formal System
3.1.1 An Introduction to the Principle of “Three Beauties”
In actual fact, Xu Yuanchong’s principle of “Three Beauties” can date back to the essay From Language to Article in The Compendium of Chinese Literary History, written by Lu Xun, the great writer, thinker and revolutionary in China. In this essay he states, “in learning a Chinese character, the form, the sound and the sense should be taken into consideration… as to article writing, the three beauties should likewise be taken into account: for one thing, to achieve the beauty in sense to move reader’s heart; the second, to achieve the beauty in sound to suffice reader’s ears; finally, to achieve the beauty in form to appeal to reader’s eyes.” (Xu Yuanchong: 1996: 62) Obviously, Lu Xun’s statement concerning the “Three Beauties” is applied to serve Chinese language or character originally and exclusively.
Later Xu Yuanchong analyzes Lu Xun’s statement through an entirely new perspective and employs it to the scope of poetry translation, explicitly and specifically converting the free translation of poetry into the translation conveying the original beauties in sense, in sound and in form. Based on his own abundant poetry translation practice and enlightenment derived from many other prominent translation theorists or translation theories, Xu Yuanchong brought out for the first time the principle of “Three Beauties” in the preface to his own English version and French version of 42 Poems of Chairman Mao Zedong in 1979: “poetry translation is required to convey not only the original beauty in sense but also the original beauties in sound and in form.”(cf. Guo Zhuzhang, 1999:443)
As Xu Yuanchong remarks in the preface to his own book On Chinese Verse in English Rhyme on the principle of “Three Beauties”, “the first principle of verse translation is the preservation of the beauty of the original to the highest degree possible … A translated verse is the combination of the poet’s idea and the translator’s language … The second principle of verse translation is the preservation of the musicality (or beauty in sound) of the original. By musicality we include rhyme, rhythm, alliteration, assonance, etc.…。The third principle of verse translation is the preservation of the original beauty in form. By form we include line length, verse pattern, repetition of words, parallelism in structure, etc.” (Xu Yuanchong, 1992:18-20)
According to Xu Yuanchong (1984:60), “among the ‘Three Beauties’, the beauty in sense is of the greatest significance, the first; the beauty in sound is of less importance, the second; whereas the beauty in form is of the least magnitude, the third.”
“We should try our utmost to convey the original beauty in sound on the premise of faithful reproduction of the original beauty in sense; furthermore, we should exert ourselves to convey the original beauty in form on the premise of both the reproduction of the original beauties in sense and in sound; in a word, we should make the greatest endeavor to reproduce the original beauties in sense, in sound and in form comprehensively.” (Xu Yuanchong, 1984:60)
Xu Yuanchong further explains that if the “Three Beauties” cannot be achieved simultaneously, the resemblance in form can be neglected, so is the resemblance in sound; nevertheless, the conveyance of original beauties in sense and in sound should be guaranteed in whatever circumstances. In other words, according to Xu, translators involved in poetry translation should try to convey the original beauty in sense within the scope of conveying the original beauties in sound and in form, since the classical Chinese poetry is the combination of beauties in sense, in sound and in form. Only by reserving the original three beauties can a version be truly considered faithful and sincere to the original and hence is able to move reader’s heart, to suffice reader’s ears and to appeal to reader’s eyes.
Xu Yuanchong’s principle of “Three Beauties” aims to guarantee reserving the original beauties in sense, in sound and in sense in the poetry version, functions to offer a very appropriate and practical criterion of the Chinese classical poetry translation, and serves as a guideline for Chinese translators during the course of poetry translation. This principle is generally accepted as the most representative theory of Xu Yuanchong, counted as the first and foremost systematic and complete theory on verse translation in the history of translation in China, and has far-reaching effects in the contemporary Chinese translation field.
Indeed, Xu Yuanchong has achieved a great success in the Chinese classical poetry translation and made an outstanding contribution to it, as the first Chinese-American Nobel Prize Winner Professor Yang Chen Ning praises him as follows: “Xu is a prolific author. In his books he made great efforts to translate into English many of the famous poems in the long literary history of China. He especially endeavored to endow the translated lines with rich metrical and rhythmic qualities. That this is intrinsically an almost impossible task did not deter him. How hard he must have labored.”(cf. Guo Zhuzhang, 1999:450)
Professor Xu’s theory has aroused great repercussion in the field of translation in China. Although there are some disagreements, his translation has been admired widely and his theory has been approved and applied by many translators and critics. First, I will take one of Xu’s translations as an illustration:
静夜思
李白
床前明月光，疑是地上霜。
举头望明月，低头思故乡。
A Tranquil Night
In bed, I see a silver light,
I wonder if it's frost aground.
Looking up, I find the moon bright,
Bowing, in homesickness I’m drowned.
(translated by Xu Yuanchong)
The translation not only conveys the theme of homesickness but also the beauty in sound and form by employing rhyme scheme ABAB and four meters in each line. It is said that Professor Xu’s translation has reproduced the original information in a double-tracked way. As for the translation from English to Chinese, the same attempt has been made. Sonnet is a kind of poem which has profound meaning with strict and trim rhyme and rhythm. Some translators, to name just Liang Zongdai, Zha Liangzheng, Fang Ping and Tu An as examples, have successfully translated them into Chinese, e.g.
Upon Westminster Bridge
William Wordsworth
Earth has not anything to show more fair:
Dull would he be of soul who could pass by
A sight so touching in this majesty:
This city now doth, like a garment wear.
The beauty of the morning: silent, bare,
Ships, towers, domes, theatres and temples lie
Open unto the fields, and to the sky,
All bright and glittering in the smokeless air.
Never did sun more beautifully steep!
In his first splendor, valley, rock, or hill;
Ne’er saw I, never felt, a call so deep!
The river glideth at his own sweet will:
Dear God! The very houses seem asleep;
And all that mighty heart is lying still!
在威斯敏斯特桥上
世上没别的能比这更加美丽:
要是谁竟能忽略这动人的美景,
那么，这人真有个迟钝的性灵:
现在，美丽的清晓象一袭晨衣
照着这都会;静谧而一览无遗
船舶塔楼，剧场教堂和圆屋顶，
从野外和高处望去一一分明，
在无烟无雾的明朗空中闪熠。
太阳从没用他那华美的初照
把山谷和岩石染得更加艳丽，
这宁静我真从未见过或感到!
泰晤士河自由自在轻快流去:
上帝啊，那些房屋看来都睡着;
那颗强大的心脏正躺着歇着！
(translated by Xu Yuanchong)
The original is written in Petrarchan form in which the fourteen lines are divided into an octave of two rhyme-sounds arranged ABBA ABBA and a sestet of two additional rhyme sounds CDCDCD and it is iambic pentameter(ˇˉ∣ˇˉ∣ˇˉ∣ˇˉ∣ˇˉ), such as in “Earth has∣not a∣nything∣to show∣more fare, ∣Dull would∣he be∣of soul∣who could∣pass by... ”. Apart from rendering the meaning, the translator has translated the sonnet so close to the original form that its arrangement of rhyme sounds is in the same way, even there are five cadences in each Chinese line to correspond with the original pentameter, e.g. ‘世上∣没别的∣能比这∣更加∣美丽:要是谁∣竟能∣忽略这∣动人的∣美景;……’
In a word, these examples show that to convey the beauties in sense, in sound and in form is possible in theory but not really in practice. However, the translator can do it as well as possible if they try their best.
3.1.2 Beauty in Sense
According to Xu Yuanchong, to convey the beauty in sense in the original, the translator must keep the translation faithful to the original, and if the method of “equalization” can not convey the beauty, sometimes, the adaptive methods of “generalization” or “particularization” can be used. Even, the beauty in sense can be conveyed with the help of beauty in sound and in form.
Sense refers to the writer’s subjective and its artistic expression in his or her work; it is the people’s internal aesthetic experience, cognition, and interests to the real environment. Though stirred by the real world, it is commonly considered to occur in mental world. Applied to the field of poetry, it means that through vivid depiction, the poet cast their profound thoughts and strong emotions into wrought and well-defined words in a reserved way so as to create the “world”(境界).
Like other literary works, Hong Lou Meng abounds with a great many rhetorical devices, such as puns, repetition, metaphors, similes, allusion, etc. This is also a distinctive characteristic of Cao Xueqin’s writing. It was by using these rhetorical devices that he achieved beauty in sense in the poetry.
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。
If the Dragon King wants
A white jade bed,
He applies to the Wangs
Of Chinling, it’s said.
The Hsuehs in their affluence
Are so rich and grand,
Gold is like iron to them
And pearl like sand. (Yang)
The King of the Ocean
Goes along
When he’s short of gold beds,
To the Nanking Wang.
The Nanking Xue
So rich are they,
To count their money
Would take all day… (Hawkes)
In this poem, two character “王” and “雪” are puns. “王” has double meanings: the King of Dragon and the noble family of Wang. “雪” also has two meanings: snow and the noble family of Xue. Pun is one of the most difficult language barriers for a translator. In most cases, the translator would tend to paraphrase them. But as poem is a special literary style and the feature of being condense prevents the translator from paraphrasing them with lots of explanation concerned if he wants to abide by the rule of being faithful to the form. In Yang’s translation, he transliterated “王” into “the Wangs” and “雪” into “the Hsuehs”. If his counterpart, Hawkes, had translated “王” into “king”, “雪” into “snow”, it would be hard to connect the following lines describing the affluence of the noble family “薛”, thus Hawkes transliterated “雪” while at the same time, he added more information in front of the character “the Nanking Xue”.
…空对着, 山中高士晶莹雪;
终不忘, 世外仙姝寂寞林。(第五回)
Vainly facing the hermit in sparkling snow-clad hills,
I forget not the fairy in lone woods beyond the world. (Yang)
And while my vacant eyes behold crystalline snows of beauty pure and cold,
From my mind cannot banished
That fairy wood forlorn that from the world has vanished. (Hawkes)
In the second example, there also contains two puns “雪”and “林”. Maybe Yang felt it impossible to translate their double meanings, so he just translated one layer of meaning. “Snow” and “woods” can transmit more information than the surname of Xue and Lin.
In translation of puns, which have double meanings, a translator usually can only transfer one of them but not both. To choose which meaning to transfer depends on translator’s sociolinguistic competence. Different contexts give hints for translators to make different choices. In the first example, the other lines in the poem depict the richness and affluence of two noble families, so the better choice for puns is the family surnames. In the second example, there is description of natural scenery, so “snow” and “wood” are coherent with other lines. Coherence certainly contributes to better communicative effects.
气昂昂, 头戴簪缨, 光灿灿, 胸悬金印,
威赫赫, 爵禄高登, 昏惨惨, 黄泉路近。(第五回)
Jubilant in official headdress
And glittering with a gold seal of high office,
A man may be awe-inspiring and exalted,
But the gloomy way to the Yellow Spring is near. (Yang)
Proudly upright
The head with cap and bands of office on,
And gleaming bright.
Upon his breast the gold insignia shone.
An awesome sight
To see him so exalted stand!…
Yet the black night
Of death dark frontier lay close at hand. (Hawkes)
Reduplication is a type of special rhetoric of Chinese language. Phrases with repeated Chinese characters in them are hard to be translated into equivalent English, especially when they appear in groups. There are four reduplicated phrases: “气昂昂”“光灿灿” “威赫赫” “昏惨惨”in the poem. Yang transformed them into one or two adjectives, in other words; he translated their implied meanings, but lost the beauty of form. Hawkes translated their meanings as well as kept its parallel structure: “Proudly upright” and “an awesome sight” and “the black night”. When a translator intends to achieve better communicative effects, he sometimes needs to make changes, but more important, he has to be faithful to the original text. Therefore, it is a translator’s task to make a balance between them.
一个枉自嗟呀,一个空劳牵挂。
一个是水中月，一个是镜中花。
One sighs to no purpose,
The other yearns in vain;
One is the moon reflected in the water,
The other but a flower in the mirror. (Yang)
In vain were all her sighs and tears,
In vain were all his anxious fears:
All, insubstantial, doomed to pass,
As moonlight mirrored in the water
Or flowers reflected in a glass. (Hawkes)
In this poem, the metaphor “一个是水中月,一个是镜中花” hints that the love between Baoyu and Daiyu is fruitless. There is no doubt that both of the translators have conveyed this figurative meaning. But compared with Hawkes’ version which renders the metaphor to be a simile, Yang’s literal rendering of the original by using the corresponding method is preferable. Because Yang Xianyi took the implicit style of the original poem into consideration and his literal translation gives readers a rich association, thus he preserved, in his translation, the original aesthetic effect which is one of the five or six functions of language proposed by Leech and Newmark. In addition, Yang’s version accords with the native habitual ways of expression; whereas Hawkes’ version, with the explanatory words, “All, insubstantial doomed to pass,” impairs the original aesthetic effect to some degree and seems redundant.
……若将人泪比桃花, 泪自长流花自媚;
泪眼观花泪易干, 泪干春尽花憔悴……
If tears are likened to blossom,
Long as the blossom retain their charm they flow.
As she gazes at the blossom her tears run dry…
Her tears run dry, spring ends, blooms fade away; (Yang)
If with the waters rosy hue comparison be made,
Carmine tears and dewy flowers seem of the self-same shade,
Yet lady’s tears and flowers in this unalike find,
That the flowers are still and smiling,
but the tears flow unalloyed. (Hawkes)
In this poem, a simile was used to compare tears to flowers. The figure of speech of simile is frequently employed by both Chinese and English writers. Some common Chinese similes which can be easily understood by Chinese may sound strange or completely opposite their routine thinking mode and vice versa. It is not difficult to take some examples, say, “as blind as a bat”, “as cheerful as a lark”, “as poor as a church mouse”. When this kind of rhetorical device is used in poems, the difficulty undoubtedly doubled. In the above cited poem, the target-language readers may feel it too demanding to find the similarity between tears and flowers. In Chinese culture, the sad ending of blossom is the same with the ending of tears—they are just gone.
…相逢若问家何处,却在蓬莱弱水西.(第二十五回)
If asked from where he came he would reply:
“West of the Penglai Isles in weightless sea” (Yang)
Yet, if you asked him where his dwelling was,
Westward of paradise. He would reply. (Hawkes)
Strictly speaking, what an allusion contains has gone beyond rhetorical boundaries. Allusions are derived from culture and they are culture-loaded phrases. The poem depicts the appearance of one of the two monks. In Chinese folk tales “蓬莱弱水”where Chinese supernatural beings live. Yang rendered it according to Chinese culture, he alienated the allusion: he transliterated “蓬莱”into “Penglai” and rendered “弱水”into “weightless sea” according to Chinese legend. Hawkes attaches more importance to western culture, he chooses to leave out the cultural information in the poem, and domesticates it into “Westward of Paradise”.
可叹停机德,堪怜咏絮才(第五回)
Alas for her wifely virtue,
Her wit to sing of willow-down, poor maid! (Yang)
One was a pattern of female virtue,
One a wit who made other wits seem slow. (Hawkes)
In Chinese version there are two allusions: “停机德” and “咏絮才”.Yang does not explain the allusion at great length. Instead, he captures the main meaning and use paraphrases, though “Her wit to sing of willow-down” is a little bit confusing to the reader. This method not only tells the main idea, but also is quite easily understood and succinct. If we add the note as the original, readers would be interrupted from time to time then lost the full picture of the meaning the source-language writer intends to convey.
彩线难收面上珠,湘江旧迹已模糊;
窗前亦有千竿竹,不识香痕渍也无?
No silk thread can string these pearls;
Dim now the tear-stains of those bygone years;
A thousand bamboos grow before my window,
Is each dappled and stained with tears? (Yang)
Yet silk preserves but ill the Naiad’s tears:
Each salty trace of them fast disappears.
Only the speckled bamboo stems that grow
Outside the window still her tear-marks show. (Hawkes)
In Yang’s translation, there is an annotation attached to the last sentence, which reads like this, ‘Referring to a kind of bamboo with dark spots. According to a Chinese legend, after King Shun died, his two wives mourned for him and their tears made dark spots on the bamboo.’
The two wives of King Shun, who were goddesses themselves, lived on the bank of Xiangjiang River. And the bamboo allegedly stained by their tears was called ‘Xiangfei bamboo’ or ‘speckled bamboo’. Daiyu is a most sentimental girl who has a habit of crying a lot. And there also grow many bamboos before her abode, Xiaoxiang Guan (translated by Yang Bamboo Lodge).The name of the abode is also after the river of Xiangjiang. That’s why Daiyu is often, wittingly or unwittingly, compared to the goddess by others as well as herself.
In the poem, “湘江旧迹”refers to the tear stains of the two goddesses. Yang’s translation is ‘the tear-stains of those bygone years’. No reference to the goddesses or the river is to be found, reader might be puzzled at whose tears are those. Yet at last, with the help of the annotation, they may come to realize the answer. If we look on the translation as a whole, we will find that there is a close semantic equivalence to the source text and the translation still remains within the source culture and assists the reader only in its connotations.
In Hawkes’ rendering, the first line is “yet silk preserves but ill the Naiad’s tears: Each salty trace of them fast disappears.” So the Chinese goddess of Xiangjiang River becomes the nymph of Greek Mythology. This translation addresses itself solely to the target-language reader, who does not anticipate difficulties or obscurities, and would expect a generous transfer of foreign elements into his own culture as well as his language where necessary.
长安公子因花癖, 彭泽先生是酒狂.
The young lord of Chang’an is infatuated with flowers
Just as the poet of Pengze was crazy for wine (Yang)
Yet young Sir Fop, with whom flowers are a passion
And drunk old Tao both dote no flowers to wear (Hawkes)
“Lord of Chang’an(长安公子)”refers to the Tang Dynasty poet Du Mu, who was thus called because his grandfather Du You had been prime minister for two emperors. ‘Poet of Pengze(彭泽先生)’ refers to the Jin Dynasty poet Tao Qian or Tao Yuanming. Both poets were enthusiastic lovers of chrysanthemum. In Yang’s translation, an annotation is attached to ‘poet of Pengze’, but not ‘lord of Chang’an’. While reading Yang’s rendering, target-language readers’--- even our Chinese readers’ vision of ancient Chinese culture is greatly widened. Hawkes translated “长安公子”as “young Sir Fop”, which is rather different in connotation from the Chinese original. His conforming the foreign things to his own language and cultural conventions constitutes an excessive and inadequate effort of domestication and a distortion of the original.
3.1.3 Beauty in sound
As English, in phonetics, is called “stress language” in which the pronunciation of words is either stressed or unstressed, while Chinese is called “tone language” in which the characters are distinguished by their tones. This is a distinct difference between the two languages. For example, in English poems, iambic pentameter is often used, which has ten syllables in each line, five of them are stressed, other five ones are not. Therefore one line with ten syllables is easily read and sounds nice. But it is different in Chinese. One line with ten Chinese characters is difficult to read out and sounds no good in rhythm. Since phonological features in poetry translation to a great extent, is a complicated system, which deserves a long monograph to work on. So the author of this thesis would like to analyze this point from the angle of rhythm and rhyme with which the beauty of musicality in poems can be reproduced in translation. Psychologists have done experiments to prove the association between music and man’s mood. The German psychologist Helmholtz, whose experiment is among the most distinguished ones, found that music exerts an influence not only on the auditory nerves but also on the motion of muscle and the cycling of blood. According to W.H. Auden, “Rhythm is to tune what symmetry is to space.” The rhythm of Chinese poems is decided by two factors according to Yuan Xingpei’s(袁行霈)study on Chinese poetry. The first is the organization of syllables. As mentioned above, the Chinese language is a kind of tonal language in which, usually, there is one syllable for each character. For the regulated verse, the number of syllables in each line is fixed and these syllables are not isolated from each other. Generally they will form several “pauses” by two and two together. For example,
杏帘在望
杏帘/招客/饮，在望/有山/庄。
菱行/鹅儿/水，桑榆/燕子/梁。
一畦/春韭/绿，十里/稻花/香。
盛世/无/饥馁，何须/耕织/忙。
忆菊
怅望/西风/抱/闷思，si
蓼红/苇白/断肠/时。shi
空篱/旧圃/秋/无迹，ji
瘦月/清霜/梦/有知。zhi
念念/心随/孤雁/远，yuan
寥寥/坐听/远砧/迟。chi
谁怜/我为/黄花/瘦，shou
慰语/重阳/会/有期。qi
For a pentasyllabic verse, there are often three “pauses”, as in the former example; while for a heptasyllabic one, there are four “pauses”, as in the latter example. The division of syllables into pauses is based upon the consideration of both the neatness of the number of syllables and the meaning of the phrases.
In English, rhythm is marked by the alternation of stressed and unstressed syllables, the meter(诗的韵律)whose differentiation is based upon the number of feet in each line of the poem and the location of the stressed syllable offers us a way to identify these certain recurring patterns of sound. Among various meters, the iambic pentameter has proven very congenial to poets and readers because the iamb sounds like a heartbeat while the five feet of each line fit the natural flow of the poetic language. Hawkes, who knows well the preference of his readers as well as the tradition of his own language, uses the iambic pentameter in most of his renderings. For example,
世外仙源
名园筑何处？仙境别红尘。
借得山川秀，添来景物新。
香融金谷酒，花媚玉堂人。
何幸邀恩宠，宫车过往频。
A Fairy Stream
To fai/ry haunts/far from/the world’s/annoy(10 syllables)
A ro/yal vi/sit brings/a double/joy.(9 syllables)
A thou/sand bo/rrowed beau/ties here/combined(10)
In this/new set/ting new/enchant/ment find.(10)
Its o/dours sweet/a po/et’s wine/enrich;(10)
Its flowers/a queen/ly vi/sitor/bewitch.(10)
May she/and we/this fa/vour hope/to gain:(10)
That oft/-times she/may pass/this way/again!(10)
(Hawkes)
访妙玉乞红梅
酒未开樽句未裁，寻春问腊到蓬莱。
不求大士瓶中露，为乞嫦娥槛外梅。
入世冷挑红雪去，离尘香割紫云来。
槎枒谁惜诗肩瘦，衣上犹沾佛院苔。
Wine not/yet broached/nor ver/ses yet/composed(10 syllables)
In quest/of spring/I sped/to E/lysium (10)
Twas not/the balm/from Guan/Yin’s vase/I craved (10)
Across/that thresh/old, but/her flowe/ring plum (10)
A fro/zen world/ling, for/red flowers/I begged ;(10)
The saint/cut frag/rant clouds/and gave/me some. (10)
Pity/my verse/so an/gular/and thin. (10)
For con/vert snow/has soaked/it to/the skin! (10)
(Hawkes)
From the above two examples, we can see that the iambic pentameter is employed in almost all the lines. A few exceptions are: the last scansion of the second line in the former example “joy”, which has only one syllable and is not regular according to the rule—there must be two or three syllables within a foot. In the latter example , the first scansion of the first line “wine not” as well as the seventh line “pity”, the sequence of stress is antithetical to that of the iambic one which is “unstressed, then stressed”. But the phenomenon of irregularity in the employment of the meter can be explained. If one sentence pattern is used frequently throughout a poem, it would become monotonous and make the readers bored. As Jay Parini says in his An Invitation to Poetry:
“There is a scarcely understood but extremely important point: poetic meter is rarely perfectly regular. When one says that a poem is written in a certain meter, he means that it follows that pattern in general but with variations throughout. These variations account for individuality and style of good poetry.”(P36)
The following translations of the two poems mentioned above are from Yang Xianyi:
A Fairyland far from the World of Men
Who knows where this illustrious garden lies? (10)
Far from the dusty world this paradise. (10)
Here streams and mountains lend their fair delight. (10)
Enhanced by many a novel scene and sight. (10)
Scents heady as the wine from Golden Bell ;(10)
Bind all in these jade halls with flowery spell ;(10)
Blessed by Imperial favour, we would fain, (10)
Welcome the royal visitant again. (10) (Yang)
Before the drinking starts, ere poems are made (11)
He goes to the Fairy Isles in search of spring, asking a boon. (15)
Not in quest of dew from the Bodhisattva’s Kundi, (13)
But to beg a plum branch by the fence of the Goddess of the Moon. (16)
He returns to earth with a load of cold red snow, (12)
A fragrant cloud but far from the dusty world ;( 11)
Its forked boughs resting on the poet’s slim shoulders, (12)
His clothes by moss from the nunnery still purled. (11) (Yang)
The translation of the former, which contains 10 syllables and 5 feet in each line has very neat rhythm but that of the latter, with its different numbers of syllables and feet, does not seem that regular. Unlike Hawkes who preferred the neat rhythm and employed the iambic pentameter in almost every rendering, Yang Xianyi frequently changed his style without using the strict-versification. While Yang’s rendering, from the appearance, betrays the rhythmical beauty in the original, but in fact, it shows his faithfulness in translation. As he himself explained: “I took the free style. As I have found it (using the strict-versification style) a most unrewarding job because the pursuit of the formal faithfulness will certainly lead to the unfaithfulness on the content, so I just quit.”
Besides the organization of syllables, rhyme, which combines separate lines of a poem into units and adding musical quality to poetry, is another indispensable factor in the formation of Chinese classical poetry’s rhythm. Many people even regard rhyme and rhythm as two equals. The ancient Chinese poets tended to use rhymes in the characters whose last syllables (eg. -ong in hong, long, kong etc.) sound the same at the end of a line to recall earlier words, to emphasize certain points, and to make their language more impressive. For prosodic purposes, the four tones of medieval Chinese are divided into two classes, level(平声)and oblique(仄声),and only the level-tone characters can be used as rhymes. And the pattern to which the rhymes adhere is rhyme scheme. For example, the rhyme scheme of《忆菊》mentioned above is a a a a b a c a (Chinese rhyme: si, shi, ji, zhi, yuan, chi, shou, qi) which is also the standard rhyme scheme of the Chinese heptasyllabic verse.
Usually, there are controversies on whether or not the rhyme style should be employed in the rendering of Chinese poetry. Some translators such as the English Scholar Arthur Waley as well as the Chinese scholar Lu Shuxiang (吕叔湘) are against the use of rhyme, as they think that it is impossible not to sacrifice sense to sound if one uses it. While Herbert A. Giles and Professor Xu Yuanchong (许渊冲) strongly approve of rhyme using in translating Chinese verses, for they consider that rhyme is indispensable in the verse translation. For example,
咏菊
无赖诗魔昏晓侵，（qin）
绕篱欹石自沉音。（yin）
毫端运秀临霜写，
口角含香对月吟。（yin）
满纸自怜题素怨，
片言谁解诉秋心。（xin）
一从陶令平章后，
千古高风说到今。（jin）
This Chinese heptasyllabic poem, like other heptasyllabic ones, has the rhyme scheme a a b a c a d a. The rhymes are the characters underlined.
Day and night the imp of poetry assails men;
Skirting the fence, leaning on the rock, they start chanting;
With the tip of the brush, by the time, they write fine lines,
Or facing the moon croon their sweet melodies.
We may fill a page with sorrow and self-pity,
But who can put into words what autumn means?
Ever since Tao Yuan-ming of old passed judgment
This flower’s worth has been sung through the centuries. (Yang)
Down garden walks, in search of inspiration,
A restless demon drives me all the time;
Then brush blooms into praises, and the mouth
Grows acrid-sweet, hymning house scents sublime
Yet easier’t were a world of grief to tell
Than to lock autumn’s secret in one rhyme.
That miracle old Tao did once attain;
Since when a thousand bards have tried in vain.
(Hawkes)
From the above two versions of this poem by Yang Xianyi and Hawkes respectively, the rhyme scheme is much differently used. Yang Xianyi not only employed the free verse style with a kind of inner rhythm (for example, “Skirting the fence, leaning on the rock, they start chanting”, the underlined words are in end rhyme, and “sorrow — self-pity — sung — centuries” are in alliteration), but also used no rhyme in his rendering. Whereas Hawkes applied the rhyme scheme a b c b d b e e, which is the variation of Ottava Rima—the eight-line form of Italian poetry whose rhyme scheme is a b a b a b c c. Though Hawkes admitted the difficulty of applying rhyme: “I have been unable to reproduce the Chinese rhyme-scheme in its entirety(The tonal pattern cannot, of course, be reproduced, because English is not, in the Chinese sense, a tonal language).For facility of rhyming, Chinese is like Italian: it is possible to use the same rhyme–as is in fact done in Chapter 50–a score or more times in succession almost without trying, which is, of course, emphatically not the case in English.” He still sticks to the rhymed style in all his renderings. He said “though the rhyme scheme I have adopted is a somewhat different one from the Chinese and my renderings may be accounted of little or no poetic value, at least they should give the reader some idea of the cross-word puzzle nature of the task which the young members of the poetry club had set themselves, and enable him to appropriate why several of them elsewhere in the novel express vehement dislike of what they call for rhymes.”
Another point which deserves to be explained here is that the poems on chrysanthemum in Chapter 38 are regarded as the representative of Cao’s highest artistic achievements of composing poems in HLM not only for their significance but also for their strict versification. And the example《咏菊》by Lin Daiyu gets the laurel prize for the originality in the theme, ideas and style of the twelve poems on chrysanthemum, which also expresses the author’s (Cao Xueqin) aspiration of being understood. The lines “满纸自怜题素怨，片言谁解诉秋心” are actually the recall of “Laugh at Myself” in Chapter 1 (满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味？). So it is really a regret using free verse to render them since the target-language readers or even the source-language readers who have not read the Chinese version of HLM may consider that the original is written in such a style. John Turner once said that the poetry, especially those with strict versification, cannot be translated with sprung rhythm–such translation loses the essence of the aesthetic value of poetry.
But in the rendering of quatrain, whose usual schemes are “a b c b” or “a a b a” for the pentasyllabic quatrain and “a a b a” for the heptasyllabic one both Yang Xianyi (mostly) and Hawkes employed certain rhyme schemes. For example,
满纸荒唐言，一把心酸泪！
都云作者痴，谁解其中味？
Pages full of fantastic talk
Penned with bitter tears;
All men call the author mad,
None his message hears. (Yang)
Pages full of idle words
Penned with hot and bitter tears;
All men call the author fool;
None his secret message hears. (Hawkes)
Here the two translators employed the rhyme scheme “a b c b” as that in the original poem. To some extent, the two versions are excellent, judged both from the word choice and from the rhyme applied. But there are still two points worthy to be discussed:
One is the translation of the last sentence. They both adopted the word “none” to change the original from an interrogative sentence into a negative one. (Though there were no punctuation in Cao’s book before 1979,but from the character “谁”,we can still consider it an interrogative sentence) Therefore the original “谁知其中味” is turned into “None his(secret) message hears”; that is, “莫解其中味”,which has different meanings between the original sentence and the translated one. Cao Xueqin’s interrogative sentence expresses his personal wish looking for a bosom friend and urging readers to understand deeply his great pains in writing this book. Hence, it is better to translate this sentence into “who his message hears?”
The other point is that, in the two versions, the first two lines are both in head rhyme longitudinally, i.e. “Pages–Penned”. So it is better to change the last line to “And who his message hears?” so that another head rhyme forms between the last two lines, i.e. “All–And”; moreover, the total number of syllables in this sentence is almost the same with that in the previous one. In this way, this poem sounds more rhythmical:
Pages full of fantastic talk
Penned with bitter tears;
All men call the author mad,
And who his message hears?
Musicality in thinking is very necessary in translating poems. The integration of rhyme, alliteration and internal–rhyme can greatly increase the musicality of the translation. Take the first stanza of《葬花辞》in Chapter 27 for example:
花谢花飞飞满天，红消香断有谁怜？
游丝软系飘春榭，落絮轻沾扑绣帘。
As blossoms fade and fly across the sky,
Who pities the faded red, the scent that has been?
Softly the gossamer floats over spring pavilions,
Gently the willow fluff wafts to the embroidered screen. (Yang)
The blossoms fade and falling fill the air,
Of fragrance and brightness bereft and bare.
Floss drifts and flutters round the Maiden’s bower,
Or softly strikes against her curtained door.
(Hawkes)
Here both Yang Xianyi and Hawkes employed iambic pentameter in the translation. Hawkes’ version is in heroic couplet, a a b b. while Yang’s is rhymed in every two lines, that is, a b c b. But the dense rhyme in Hawkes’ translation causes several problems or losses. For example, “有谁怜”is the expression of Daiyu’s mental activities on seeing flowers’ fading and falling so that she has a touched feeling of her own sad life. But Hawkes does not translate this important phrase “有谁怜” which also echoes with the following text “侬今葬花人笑痴，他年葬侬知是谁？”
Next, “绣帘”,being translated into “curtained door”, is not as good as “embroidered screen” by Yang Xianyi. As Daiyu lives in the rich Jia Family, “curtained door” cannot reflect the luxury of that family.
However, the alliteration is excellently used by both of them. Such as in Hawkes’ “fade–falling–fill” (1st line); “brightness–bereft–bare” (2nd line); “soft–strikes” (last line), Yang’s “fade–fly” (1st line); “soft–spring” (3rd line); “willow–wafts” (last line).
Actually, the two translators, in spite of some losses in their renderings, have made great achievements in transferring beauty of sound in the poetry translation. Many other examples have to be omitted here because of the limited space of this thesis.
3.1.4 Beauty in Form
As mentioned in the beginning, the poems in HLM have a unique characteristic that Cao Xueqin prepared different poems for different characters according to their specific personalities, namely “按头制帽”in Chinese. Owing to their education, temperament, family background and their viewpoint on life, each character who composes poems in HLM has his/her own style either in word choice or in sentence structure which can fully present his/her self-cultivation. The ten “poems recalling the past”(怀古诗)by Xue Baoqin in Chapter 51 are good examples. Since a variety of allusions employed in these poems illustrate the “writer” Cao Xueqin’s rich knowledge and experience on the history, such as Red Cliff (赤壁怀古), Cochin China (交趾怀古), Mount Chungshan (钟山怀古), Peach-leaf Ford (桃叶渡怀古)and so on(translated by Yang).Cao Xueqin planned these poems for Xue Baoqin to let her be ingeniously different from other girls in HLM. This is a good proof of her personality.
But in transferring the poetic beauty of form, there are some typical examples through which we may find the difference between the two translators’ in their translations.
红豆曲
1、滴不尽/相思/血泪/抛红豆，
2、开不完/春柳/春花/满画楼，
3、睡不稳/纱窗/风雨/黄昏后，
4、忘不了/新愁/与旧愁，
5、咽不下/玉粒/金莼/噎满喉，
6、照不尽/菱花/镜里/形容瘦，
7、展不开的/眉头，
8、捱不明的/更漏，
9、呀！恰便似/遮不住的/青山/隐隐，
10、流不断的/绿水/悠悠。
This poem is impressive for its exquisite words, harmonious rhythm, intense musicality and neat sentence structure. The ten sentences are in parallelism with one rhyme “ou” from the beginning to the end. In addition, except the ninth one, the other nine sentences are designed to contain a special structure with “X不Y” in each of their beginning, such as “滴不尽”, “开不完”, “睡不稳”, “忘不了”, “咽不下”etc. The even syntax and tight rhythm make this poem sound very fluent, like the floating cloud and the flowing water. Now let’s look at its translation by Hawkes and Yang Xianyi respectively and how they transferred the beauty of form in this poem.
1. Still weeping tears of blood about our separation:
2. Little red love-beans of my desolation.
3. Still blooming flowers I see outside my windows growing.
4. Still awake in the dark I hear the wind a-blowing.
5. Still oh still I can’t forget those old hopes and fears.
6. Still can’t swallow food and drink, ‘cos I’m choked with tears.
7. Mirror, mirror on the wall, tell me it’s not true:
8. Do I look so thin and pale, do I look so blue?
9. Mirror, mirror, this long night how shall I get through? ho-ho-oh!
10. Blue as the mist upon the distant mountains,
11. Blue as the water in the ever-flowing fountains. (Hawkes)
1. Like drops of blood fall endless tears of longing,
2. By painted pavilion grow willows and flowers untold;
3. Sleepless at night when wind and rain lash gauze windows,
4. She cannot forget her sorrows new and old;
5. Choking on rice like jade and wine like gold,
6. She turns from her wan reflection in the glass;
7. Nothing can smooth away her frown,
8. It seems that the long night will never pass;
9. Like the shadow of peaks, her grief is never gone;
10. Like the green stream it flows for ever on. (Yang)
First, both of them noticed the rhyme applied in the original text and both employed rhyme, Hawkes’ is a a b b c c d d e f f. Yang’s is a b c b b d e d f f. Although neither of them followed the rhyme scheme from beginning to end as that in the source text, they both adopted the method of recasting, and the rhymed versions are still full of musical nature, especially in Yang’s translation, the words “untold”, “old”, “gold”, share the vowel /əu/ in rhyme which is the same as the original rhyme, and which achieves a musicality in the style reproduction.
Next, Yang Xianyi employed iamb and Hawkes trochee, but both of the versions are not very strict in rhythm.
Many readers, either at home or abroad highly appreciate Hawkes’ wonderful version of《红豆曲》.The key point lies in his dealing with the distinct syntactic features. Here Hawkes used five “stills” and one “little” at the beginning of the first six lines. With the method of corresponding, the parallelism in the original is kept. And the fourth line begins with “Still oh still” which renders the sorrowful atmosphere of the whole text and achieves the same effect as the original. In Chinese poetry, each line is a relatively complete one in meaning. All the lines, each of which is independent, are connected with one another by the internal logic among them. Whereas, English poetry is different in which one sentence may take several lines. Here, Hawkes has made the first six lines coherent by “still”, the seventh and ninth lines by “mirror”, and the last two lines by “blue”. This seems to betray the original style, but actually it is the most appropriate rendering. Particularly, Hawkes employed the skill of personification in asking the mirror on the wall again and again, which fully shows the hero’s/heroine’s loneliness and depression. Moreover, the sentence “Mirror, mirror on the wall, tell me it’s not true” leads to an association with the Queen’s asking in one of Grimm’s fairy tales Princess Snow “Mirror, mirror on the wall, who is the most beautiful woman in the world?” In this way, Chinese traditional culture can be easily understood by English readers, and it also realizes the combination between Chinese culture and western culture.
其素若何：春梅绽雪；
其洁若何：秋蕙披霜；
其静若何：松生空谷；
其艳若何：霞映澄塘。
其文若何：龙游曲沼；
其神若何：月射寒江。
Her purity I can best show
In plum-trees flowering in the snow;
Her chastity I shall recall
In orchids white at first frost-fall;
Her tranquil nature will prevail
Constant as lone pine in an empty vale;
Her loveliness as dazzled make
As sunset gilding a pellucid lake;
Her glittering elegance I can compare
With dragons in an ornamental mere;
Her dreamy soulfulness most seems
Like wintry waters in the moon’s cold beams. (Hawkes)
In his translation, Hawkes also applied parallel structure by employing iambic tetrameter mostly and others iambic pentameter; that is, one Chinese character is equal to one foot in English, with the rhyme scheme of couplet. Because of the dense rhyme and the choice of diphthongs as well as long vowels, such as/əu/, /ɔ: l/, /ei/, /i:/, the version emphasizes the musical perception.
Now comes Yang Xianyi’s version, which is thought to be much better than Hawkes’ in transferring the beauty of form in this poem.
Her whiteness? Spring plum-blossom glimpsed through snow.
Her purity? Autumn orchids coated with frost.
Her tranquility? A pine in a lonely valley.
Her beauty? Sunset mirrored in a limpid pool.
Her grace? A dragon breasting a winding stream.
Her spirit? Moonlight on a frosty river.
(Yang)
At first sight, it is a word for word translation without rhyme. Generally speaking, the method of word for word translation should be avoided as much as possible. But Yang Xianyi here adopted it very suitably because he imitated the writing style of the Chinese version, namely, brevity---the way of corresponding in recurring style. As Shakespeare once said, “Brevity is the soul of wit”. Yang Xianyi accurately rendered the content with concise statements and with blank verse, which is frequently used in English literature. Such as the British dramatist and poet---Shakespeare who was good at blank verse in his plays, for example, The Tragedy of Romeo and Juliet. And blank verse is also used in Milton’s Paradise Lost and Tennyson’s Ulysses. Poets hold that too many rhymes may cause cacophony and blank verse often attains flexibility, vividness and fluency. Besides, there is no verb throughout the translation, which is another way to get brevity. As a translator named A. C. Graham said in the preface of his translation work Poems of Later Tang Dynasty (《晚唐诗选》), what a Chinese--English poetry translator must possess is brevity. Yang Xianyi showed his expertise in this version, which deserves to be learned from.
好了歌
世人都晓神仙好, 惟有功名忘不了！
古今将相在何方, 荒冢一堆草没了。
世人都晓神仙好, 只有金银忘不了!
终朝只恨聚无多, 及到多时眼闭了。
世人都晓神仙好, 只有娇妻忘不了！
君生日日说恩情, 君死又随人去了。
世人都晓神仙好, 只有儿孙忘不了！
痴心父母古来多, 孝顺儿孙谁见了？
This Won-Done Song is chanted by the limp Taoist, not written by a man of letters, so it belongs to folk literature. The song is a seven-character ballad with four sections. At the beginning of each section, there is a repetition of “世人都晓神仙好”.Then the last words of the first, second and fourth line in each section are “好”,“了”,“了”which constitute a special sentence structure.
Let’s firstly look at Hawkes’ translation:
Won-Done Song
Men all know that salvation should be won,
But with ambition won’t have done, have done.
Where are the famous ones of days gone by?
In grassy graves they lie now, every one.
Men all know that salvation should be won,
But with their riches won’t have done, have done.
Each day they grumble they’ve not made enough,
When they’ve enough, it’s good night every one!
Men all know that salvation should be won,
But with their loving wives they won’t have done.
The darlings every day protest their love:
But once you are dead, they’re off with another one.
Men all know that salvation should be won,
But with their children won’t have done, have done.
Yet though of parents fond there is no lack,
Of grateful children saw I ne’er a one.
(Hawkes)
Hawkes successfully transplanted the features in the source text by the way of corresponding into his version, such as the repetition of the first sentence in each section, and the words “好”, “了”, “了”at the end of the first, second and fourth line in one section. The iambic pentameter was applied in each line. The first sentences of the four sections all keep “won” as the last word, the second line is an imitation of the original repeated structure “惟有……忘不了”to be “but with…won’t have done, have done. ” The fourth sentence is finished by the word “one”, thus “won”, “done”, “one” in the translation form a very skilled rhyme like that in the original text “好”, “了”, “了”.The unique feature of a ballad is the repetition of the same structure and the recurrence of the same rhyme. Fortunately, these rhetorical features here were all “copied” by Hawkes.
Then let’s read Yang Xianyi’s translation:
All Good Things Must End
All men long to be immortals
Yet to riches and rank each aspires;
The great ones of old, where are they now?
Their graves are a mass of briars.
All men long to be immortals,
Yet silver and gold they prize
And grub for money all their lives
Till death seals up their eyes.
All men long to be immortals,
Yet dote on the wives they’ve wed,
Who swear to love their husband ever more
But remarry as soon as he’s dead.
All men long to be immortals
Yet with getting sons won’t have done.
Although fond parents are legion,
Who ever saw a really filial son?
(Yang)
Yang’s version is faithful in content, also a first-class translation. But he applied different rhymes in the four sections, such as/aiə/, /ai/, /ed/, /ʌn/. This does not reflect the style in the source text. And reading it through, one may feel it to be too serious, like a very formal poem but not a ballad. An English reader who has not read the original Song would never associate it with a crazy limp Taoist.
To sum up, both Yang Xianyi and Hawkes paid attention to the syntactical features of the poems in HLM, and they tried their best to render these features in their translations to get a beauty of the sense, sound and form, which is very much worthy to be learned from.
3.2 The Translator’s subjectivity from the Perspective of Non-formal System
Mastery of the mentioned “Three Beauties” may facilitate the process of grasping the gist of translator’s subjectivity, which is embodied in the material form of poetry. Nevertheless, it is far from adequate to cognize translator’s subjectivity completely and precisely just from the perspective of formal system. Although translator’s subjectivity is tangible, it exactly possesses some features of subtlety and mystery, which can be recognized by non-formal system.
Instead of language form, non-formal system resorts to the “unstable structure”, which is established on the entire textual patterns and features, to arouse the image, experience, perception and some more psychological elements of readers’ aesthetic consciousness. The essence of the non-formal system is the “poetic flavor”. It refers to “a kind of non-material intent of poetic mind, which lies in the poetic work itself.”(Zhang Baohong 2004:45) Gu Zhengkun defines it as “the comprehensive aesthetic feeling of the reader towards the Poems’ sound, vision, sense, etc.” (Gu Zhenkun, 2003:36) There are some overlaps among the beauty of verses, form and beauty of sense, which are mainly about the external features of the poems. In this part, we will only discuss the poetic flavor which is the internal feature of poems. Sometimes, what a poem is about is as beautiful as a picture, or as pleasant to listen to as a song, or as vague as a riddle.
For example, the following poem is about a spring night. According to the poem, it is a quiet spring night, except for the falling blossoms, the rustling of the drizzle, the rhythmic croak of the frogs. It is just like a song by nature.
春夜即事
霞绡云幄任铺陈，隔巷蟆更听未真。
枕上轻寒窗外雨，眼前春色梦中人。
盈盈烛泪因谁泣，默默花愁为我嗔。
自是小鬟娇懒惯，拥衾不耐笑言频。
Spring Night
The walls flaunt hangings bright as sunset clouds
To muffle the frog’s croaking in the lane;
The rain outside the window chills my pillow,
The vision of spring seems like the girl of my dreams.
The candle sheds slow tears—for whom?
The blossoms fall as if reproaching me;
My maids are indolent from long indulgence;
Wearied by their laughter and prattle, I snuggle
down in my quilt ( Yang )
Spring
Behind silk hangings, in warm quilts cocooned,
His ears half doubt the frogs’ first muted sound.
Rain at his window strikes, the pillow’s cold:
Yet to the sleeper’s eyes spring dreams unfold.
Why does the candle shed its waxen tear?
Why on each flower do angry drops appear?
By uncouth din of giggling maids distressed
He burrows deeper in his silken nest. (Hawkes)
In Yang’s translation, he has mentioned the three kinds of sound while Hawkes has only mentioned two in his. In Hawkes’ version, he uses the word “strikes” to describe the rain, but he does not mention the sound of the falling blossoms. As we know, spring rain in China is usually considered soft and tender just like rustling of a tree or murmuring of a stream. The sound suggested by “strike” is too hard for Chinese spring rain and for the song-like sound in this poem.
Sometimes, what is described in a poem is as beautiful as a picture. Here is another example from Chapter Eighteen, which is about the beautiful scenery in Da Guan Yuan.
有凤来仪
秀玉初成实，堪宜待凤凰。
竿竿青欲滴，个个绿生凉。
迸砌妨阶水，穿帘碍鼎香。
莫摇清碎影，好梦昼初长。
Where the Phoenix Alights
The fruit fresh formed on jade stalks rare
Makes for the phoenix fitting fare;
So green each stem they seem to drip
With coolness seeping from each verdant dip.
Bursting through stones, they change the water’s track;
Piercing through stones, they change the water’s track;
Let none disturb these chequered shades.
That sweetly she may dream till daylight fades. (Yang)
The Phoenix Dance
Perfected now at last, this place is fit
For bird of paradise to enter it.
Each graceful wand lets fall a dewy tear;
Each glossy leaf breathes coolness on the air.
Through narrow-parted blocks the pent stream leaps;
Through chinks of blind the incense thinly seeps.
Let none the checkered shade with violence rude
Disrupting, on the slumberer’s dreams intrude! (Hawkes)
The poem depicts the quality of the jade-like bamboo. The color of the bamboo is so fresh that the juice of it is likely to drip, so nice that it makes people feel cool in summer. In Yang’s translation the words “jade” “drip” and “coolness” describe the kind of green color in the source text. But in Hawkes’ translation, the color of the bamboo is not mentioned directly with only “dewy tear”, and “coolness” giving some hints about the color. From the aspect of color, Yang’s is better than Hawkes’.
Chapter Four An Analysis of the Translation Diversity of the Poetry in HLM
4.1 The Diversified Translation Situation of the Poetry In HLM
In the one hundred and sixty years from 1830 to 1986, nine English versions of HLM have been published. But, for a long time, owing to the great difficulties in translating the verses, translators think it is unimportant to render them, therefore, the verse part has always been neglected in many versions. This is really a pity in spreading Chinese culture abroad. Fortunately, the British Sinologist, David Hawkes and the Chinese scholar Yang Xianyi and his wife Gladys Yang published in the 1970s the complete versions in which the verse part was satisfactorily rendered.
However, different peoples have different history, geography, ideology and other different aspects, which may cause people to express themselves in different ways. As a result, the translations of poetry vary widely.
4.2 Factors That Lead to the Translation Diversity of the Poetry in HLM
4.2.1 Different Translators
The main translator of A Dream of Red Mansions is Yang Hsien-Yi, the renowned contemporary Chinese translator as well as a researcher of foreign literature. Yang regards “faithfulness” as the most significant factor in translation. “I think,” he said, “too much explanation is unnecessary in translation. The translator should try his best to be faithful to the image of the original, with neither exaggeration nor addition of some other things. Of course, if equivalent cannot, indeed, be found, some sacrifice of the original meaning will be something unavoidable. But too much emphasis on creating is not right and proper, for it would be rewriting rather than translating.” He added “We must be very faithful to the original. What the translator should do is to express the original meaning by means of another language and keep as close as possible to the original.”(姜治文，文军1999: 288) Mr. Yang also advocated that translation work may have more foreign tastes, for it is, nevertheless, translation.
The main translator of The Story of the Stone is David Hawkes, contemporary English Sinologist. Though he is not the first person who introduced the book to the western world, his version (from 1st to 26th chapters, first volume) in 1973 marked the whole-volume translating period in the west. Hawkes insists that everything, even the pun, must be rendered. He emphasizes the “three responsibilities” on the part of translator, i.e. be responsible to the author, to the reader and to the source text. Meanwhile, however, he admits that the three responsibilities are by no means identical to each other, and therefore, the harmony of the three is always difficult to achieve. Accordingly, his translation tends to be the “communicative translation” which attempts to make the target language reader feel the same as the source language reader.
As a result, conclusions can be drawn from the different translation ideology.
Yang’s translation ideology tends to be the literal translation, which is shared by Mr. Yang’s younger sister who expressed this idea in an article entitled The Deep Connotation of Loyalty and Faithfulness. (姜治文,文军,1999: 288) In comparison, Hawkes’ viewpoint tends to be the free translation, for he strives for the conservation of the artistic conception, emotion and style of the original work.
The second clear distinction between the Yangs and Hawkes is that the former are mainly source-culture oriented while the latter is predominantly target-culture oriented. Guo jianzhong in 1998 analyzed the translators’ intentions and concluded that the Yangs endeavored to present Chinese culture to the target readers while Hawkes intended to arouse the interest of the target readers (郭建中，1998/2). Several other scholars expressed similar views. Liu Shicong & Gu Qi-nan asserted that “In general, the Yangs’ version belongs to semantic translation category while Hawkes’ version belongs to communicative translation category. But overall these two methods can be found complementary application in both versions.”(刘世聪、谷启楠，1997/1:19) Wang Hongyin stated “it is generally agreed that the Yangs’ version endeavors to transfer Chinese culture whereas Hawkes’ has a domesticating tendency.”(王宏印，2002/3:4) However, both versions has their defects respectively. The Yangs’ version is sometimes criticized for not being vivid enough and too plain. The harshest criticism of Hawkes’ version is that his has a general tendency to change source culture features, which has a hindrance to the understanding of the Chinese culture.
It is the distinction of translation ideology that leads to different translation effects. For a translator, his translation method and translation practice are guided by his translation thought. Translation theory is basically the reflection of one’s translation conception.
4.2.1.1 Different Purposes
The Yangs translated Hong Lou Meng at the invitation of Foreign Language Press, which was planning to have a series of Chinese classical works translated into English. Yang held the idea that foreigners should realize how rich Chinese culture is as we should appreciate excellent foreign works. In order to preserve the original value and soul of Chinese culture in English, Yang always obeyed such a principle that a translator should try his best to be loyal to the original images, or translation would be changed into rewriting. (任生名,1993:33-35) That is to say, he observed the principle of retrospective translation, “which primarily regards the Author” (Postgate, 1922:18) and “imparts a knowledge of an original to those to whom it would otherwise be unknown” (Postgate, 1922:22).
The Story of the Stone is one of the classical works serial by Penguin, which stressed publicizing one great social-customs novel among western readers. Hawkes accepted Penguin’s invitation because he really loved this masterpiece and was eager to share his happiness in reading the novel with his people. As a result, in his translation, Hawkes intentionally tried to remove any possible obstacles for those potential readers. His refusal of annotation in his translation is a good example, because he thought annotation would deprive the readers of their enjoyment in reading. Obviously, he observed the principle of prospective translation, “which primarily regards the reader” (Postgate, 1922:18) and “in which the translator’s main concern is to express the SL meaning in terms appropriate to the TL audience” (Shuttleworth, 2004:133). In adopting prospective translation, the translator “is seen as an adapter rather than a FAITHFUL follower of the original wording” (Shuttleworth, 2004:133). Determined by their different purposes, the two translators resort to different strategies
4.2.1.2 Different Strategies
In the course of translation, two important strategies are involved at every turn, i.e. foreignization and domestication. Generally speaking, the translation with more source-language-culture orientation is foreignization of higher grade, while the translation with more target-language-culture orientation is domestication.
As culture can be embodied in their corresponding national literature, appropriate alienation in translation for cultural elements can be propitious to the conveyance of culture. At the same time, proper naturalization in respect of language elements can be helpful for translated works to be accepted in the target-language environment because of the relative stability of all languages. In this sense, the strategy of foreignization that the Yangs adopt is helpful for the promotion of intercultural communication, for their major principle could enable the foreigners to have a better understanding of Chinese culture by means of appreciation of the Chinese logical thinking and syntactic structure. It’s certainly that no unitary approach is applied in any translation, though, for the Yangs’, in most cases, their major strategy in Hong Lou Meng translation is foreignization.
Hawkes’ English translation of the classic Chinese novel has won a high praise for its faithfulness to the original and its successful representation of spirit. In the introduction to his The Story of the Stone, he once presents his motivation for Hong Lou Meng translation: “In translating this novel I have felt unable to stick faithfully to any single text. I have mainly followed Gao E’s version of the first chapter as being more consistent, though less interesting, than the other ones; but I have frequently followed a manuscript reading in subsequent chapters, and in a few, rare instances I have made small emendations of my own. My one abiding principle has been to translate everything—even puns. For although this is, in the sense I have already indicated, an ‘unfinished’ novel, it was written (and rewritten) by a great artist with his very lifeblood. I have therefore assumed that whatever I find in it is therefore a purpose and must be dealt with somehow or other. I cannot pretend always to have done so successfully, but if I can convey to the reader even a fraction of the pleasure this Chinese novel has given me, I shall not have lived in vain.”(Hawkes, 1977:volume1)
In this statement, two major issues are involved in his translation, Readership and Domestication, which are the important issues being frequently discussed in translation circles. As an introducer of the foreign culture, in the course of Hong Lou Meng translation, David Hawkes tries every means to make his version close to the western cultures so as to be easily acceptable by the target readers. Herewith, readership is an important factor that David Hawkes takes into consideration. He should decide how much attention he has to pay to the target readers on the basis of the variety of language used in the original, and attempts to characterize the readership of the original and then of the translation. He should assess the level of education, the class, age and sex of the readership if these are ‘marked’.
For David Hawkes, the average text for translation tends to be for an educated, middle-class readership in an informal, not colloquial style.
If the readership is the major concern for David Hawkes’ translation, then domestication is an important means for him to achieve his goal. In other words, in order to make his version comprehensible by common English readers, he intends to translate the source language by means of some expressions with a strong feature of the target language. Therefore, an important strategy that David Hawkes is inclined to adopt is domestication, the strongpoint of which is to make the rendering standard and lifelike.
4.2.2 Various Target Readers
The intended readership of Yang’s version is supposed to be people in the western world who are interested in Chinese culture. However, for some reasons, most readers are Chinese: students who major in English, Hong Lou Meng fans and Red-ologists. Yang’s version has had much more influence on Chinese readers than on English readers. One reason may be that his work was published in Beijing, China, and it is not convenient for English readers to get. Another reason may be that his version was too hard to comprehend for English readers.
As for Hawkes’ version, from his 46-page introduction we can see he did a thorough research about the authorship, editions, themes, writing devices, etc, concerning Hong Lou Meng and he translated it out of love and admiration of the novel. According to his research and comprehension, he chose the title Shi Tou Ji instead of the well-accepted Hong Lou Meng and divided the novel into five sections, which provides new perspectives for the interpretation of the novel. Naturally, his version has a wide range of readership because of his version’s accessibility and comprehensibility to common readers. His introduction and appendixes help the western readers have more understanding about the novel and Chinese culture. His version has not only been accepted by English readers, but also brought great influence among Chinese readers.
4.2.3 Cultural Gap
Anthropologists, linguists, sociologists and translation theorists have all tried to offer a decent definition to culture. Here are some of the most wisely quoted definitions. “Culture is a system of shared beliefs, values customs, artifacts that the member of a society use to cope with their world and with one another, and that are transmitted from generation to generation through learning, this definition includes not only patterns of behavior but also pattern of thought (shared meaning that the members of a society attach to various phenomena, natural and intellectual, including religion and ideologies), artifacts (tools, poetry, house, machines, work of art), and the cultural transmitted skills and techniques used to make the artifacts.” (Bates and Plog, 1990) British scholar E. B. Tytler, the first professional anthropologist, defined it as “That complex whole which includes knowledge, belief, art morals, custom and any other capabilities and habits acquired by man as a member of society.” (Tytler, 1871) He pointed out four features of culture:
l) Culture is acquired, but not inherited.
2) Not a single one but all the members of a group of people or society share a culture.
3) Culture is symbolic, and the language is its most important symbol system.
4) Culture is a unity whole: every aspect of culture is related to another.
With a shared cultural background, the native readers are able to understand the source text without much difficulty. George Steiner said in after Babel: “The native speaker’s at hominess’, largely subconscious because inherited and cultural specific, in his native tongue, his long-conditioned immersion in the appropriate context of the spoken or written utterance, make possible the economy, the essential implicitness of customary speech and writing.” (George Steiner, 2001:291) The same information, however, is difficult for target readers to comprehend especially in the case of cultural terms and ideas. If it is not in conformity with his previous cultural background and aesthetic experience, the same word or image will impart no, little or opposite aesthetic value on target language readers. In front of these problems, even efforts of the greatest translators are not fruitful at times, such as the following case:
应惭西子，实愧王嫱。
The beauties of days gone by her beauty are all abashed
(Hawkes)
She would put Hsi Shih to shame and make Wang Chiang blush.
(Yang)
In these two poetic lines, crab apple flower is compared to a famous Chinese beauty Xishi, a beauty in the Spring and Autumn Period, and Wang Zhaojun, the beauty of Han Dynasty. These two women are famous in China and become the substitute for beauty. In Hawkes’ version, the metonymies are omitted, with only the general sense “beauty” left; while in the Yangs’ version, the metonymies are transliterated. The aesthetic values of the original metonymies are reduced in both versions.
Conclusion
Efforts have been made theoretically and practically to study the translator’s subjectivity in the previous chapters by discussing the poetry translation in HLM in the principle of “Three Beauties”.
Translators tend to obtain their own comprehension of a source text. Their translation of the text is influenced by historical, cultural, and personal factors, without which the translation makes no sense. Different translations of the text are the products of the translator’s subjectivity. Subjectivity cannot be avoided in translation.
In conveying the “Three Beauties”, as for what tangible strategies a translator will adopt to compensate for the disparity caused by the different languages and cultures, it will be greatly influenced by his/her own subjectivity.
The author of this thesis concentrates more on the English versions by Yang Xianyi and David Hawkes who are two experts for their complete translations of HLM. Owing to the different principles and purposes they hold, Hawkes and the Yangs vary much in their style of translation. The Yangs, with the effort to convey the original “beauties”, have kept many Chinese cultural elements which are significant in helping readers to increase intercultural awareness to understand Chinese culture as it really is. However, Hawkes has tried his best to convey not only the information but also the artistic or aesthetic effect of the source text to his English readers, thus Hawkes seems to try every possible way to make up for things lost in rendering.
As readers, maybe we can assume a tolerant attitude towards different versions of translation, whether Chinese or foreign, for not only their comparison serves as a good way to probe into the original but their existence also makes our human culture a richer one.
Bibliography
[1] Bassnett, Susan. Translation Studies .Shanghai: Shanghai Foreign Language Education Press, 2004
[2] Bassnett, Susan, & Andre Lefevere. Constructing Culture .
Shanghai: Shanghai Foreign Language Education Press, 2001
[3] David Hawkes, ed. and transl. The Story of the Stone. Vols 1-3.London: Penguin, 1977
[4] David Hawkes, The Story of the Stone [M]. Penguin Group, 1980
[5] Fussel, Paul. Poetic Meters and Poetic Form. New York：Random House, 1965
[6] George Steiner, After Babel: Aspects of Language and Translation [M] Shanghai: Shanghai Foreign Language Edueation Press 2001
[7] Guo Jianzhong, Contemporary Translation Studies in USA, Wuhan：Hubei Education Press, 2000
[8] Henderson, K.R., 1980. Hsien-yi Yang，Gladys Yang，Zuoliang Wang & LinYu. The Wrong Side of a Turkish Tapestry. Hemisphere.
[9] Jay Parini, An Invitation to Poetry, New Jersey: Prentice Hall, 1987
[10] Nida, E.A. and Taber, C.R. The Theory and Practice of Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2004
[11] Nord, Christiane. Translating as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press, 2001
[12] Postgate, J.P.1922 Translation and Translations: Theory and Practice London：G. Bell & Sons, Ltd
[13] Reiss, Katherina. Translation Criticism The Potentials and Limitations, Shanghai: Shanghai Foreign Language Education Press, 2004
[14] Savory, Theodore, The Art of Translation .Philadelphia: Du Four, 1958
[15] Shuttleworth, Mark & Cowie, Moira. Dictionary of Translation Studies. Shanghai: Shanghai Foreign Language Education Press. 2004
[16] Tytler，A.F. 1978. Essay on the Principles of Translation. Amsterdam: Hohn Benjamins.
[17] Venuti, L. The Translator’s Invisibility: A History of Translation. Shanghai: Shanghai Foreign Language Education Press, 2004
[18] Vermeer, Hans J. Skopos and Commission in Translational Action, in Lawrence Venuti(ed.), The Translation Studies Readers, London and New York: Routledge,1989
[19] Xu Yuanchong, On Chinese Verse in English Rhyme—from the Book of Poetry to the Romance of the West Bower, Beijing: Peking University Press, 1992
[20] Yang Xianyi, and Gladys Yang, A Dream of Red Mansions, Beijing: Foreign Language Press, 1978
[21] 陈福康,《中国译学理论史稿》, 上海：上海外语教育出版社，2000
[22] 辜正坤，《中西诗比较鉴赏与翻译理论》[M].北京:清华大学出版社.2003.7
[23] 郭建中，“翻译中的文化因素：异化与归化” 《外国语》1998(2)
[24] 郭著章等，《翻译名家研究》，武汉，湖北教育出版社，1999
[25] 姜治文、文军，《翻译批评论》，重庆：重庆大学出版社,1999
[26] 李和庆、黄皓、薄振杰，《西方翻译研究方法论——70年代以后》.北京：北京大学出版社，2005
[27] 刘士聪，《红楼译评——<红楼梦>翻译研究论文集》[C]. 天津:南开大学出版社，2004
[28] 刘士聪、谷启楠，“论《红楼梦》文化内容的翻译”,《中国翻译》1997 (1)
[29] 吕叔湘，《中诗英译比录》[M]，上海外语教育出版社, 1980
[30] 潘文国，“汉英对比一百年”，《世界汉语教学》，2002年第一期
[31] 任生名，“杨宪益的文学翻译思想散记”，《中国翻译》，1993，第4期
[32] 王宏印,《<红楼梦>诗词曲赋英译比较研究》[M]. 西安:陕西师范大学出版社，2001
[33] 王玉墚, “论主体性的基本内涵与特点”,《天府新论》，第6期,34一38页，1995
[34] 魏芳，《翻译策略特定翻译情境下的选择——<红楼梦>两种译本文化内容的翻译策略比较》，天津:南开大学出版社，2004
[35] 谢天振，《译介学》，上海:上海外语教育出版社，1999年
[36] 许钧，“创造性叛逆”和翻译主体性的确立，《中国翻译》，第1期，6一11页，2003
[37] 许钧，《翻译思考录》武汉：湖北教育出版社，1998
[38] 许渊冲，《翻译的艺术》，北京：中国对外翻译出版公司，1984
[39] 许渊冲，《追忆似水年华》，北京：生活•读书•新知三联书店1996
[40] 杨武能，“阐释、接受与创造的循环——文学翻译断想”，《中国翻译》，1987（6）―――“再谈文学翻译主体”，《中国翻译》，2003（3）
[41] 俞平伯，《俞平伯论红楼梦》[M]，上海：古籍出版社，1988
[42] 袁莉，“文学翻译主体的诠释学研究构想”，《解放军外国语学报》，第3期，74一78页, 2003
[43] 袁莉，《关于翻译主体研究的构想》，许钧，张柏然.《面向21世纪的译学研究》，北京：商务印书馆，2002
[44] 袁行霈，《中国诗歌艺术研究》[M]，北京：北京大学出版社1996
[45] 张保红，《论诗味的翻译》[J].北京:外语教学,2004(6):45
[46] 周珏良，《周珏良文集》[M].北京:外语教学与研究出版社，1994
学位论文原创性声明
本人郑重声明：所呈交的学位论文，是本人在导师的指导下进行的研究工作所取得的成果。尽我所知，除文中已经特别注明引用的内容和致谢的地方外，本论文不包含任何其他个人或集体已经发表或撰写过的研究成果。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式注明并表示感谢。本人完全意识到本声明的法律结果由本人承担。
学位论文作者（本人签名）： 年 月 日
学位论文出版授权书
本人及导师完全同意《中国博士学位论文全文数据库出版章程》、《中国优秀硕士学位论文全文数据库出版章程》(以下简称“章程”)，愿意将本人的学位论文提交“中国学术期刊（光盘版）电子杂志社”在《中国博士学位论文全文数据库》、《中国优秀硕士学位论文全文数据库》中全文发表和以电子、网络形式公开出版，并同意编入CNKI《中国知识资源总库》，在《中国博硕士学位论文评价数据库》中使用和在互联网上传播，同意按“章程”规定享受相关权益。
论文密级：
□公开
□保密（___年__月至__年__月）(保密的学位论文在解密后应遵守此协议)
作者签名：_______ 导师签名：_______
_______年_____月_____日 _______年_____月_____日
独 创 声 明
本人郑重声明：所呈交的毕业设计(论文)，是本人在指导老师的指导下，独立进行研究工作所取得的成果，成果不存在知识产权争议。尽我所知，除文中已经注明引用的内容外，本设计（论文）不含任何其他个人或集体已经发表或撰写过的作品成果。对本文的研究做出重要贡献的个人和集体均已在文中以明确方式标明。
本声明的法律后果由本人承担。
作者签名:
二〇一〇年九月二十日
毕业设计（论文）使用授权声明
本人完全了解滨州学院关于收集、保存、使用毕业设计（论文）的规定。
本人愿意按照学校要求提交学位论文的印刷本和电子版，同意学校保存学位论文的印刷本和电子版，或采用影印、数字化或其它复制手段保存设计（论文）；同意学校在不以营利为目的的前提下，建立目录检索与阅览服务系统，公布设计（论文）的部分或全部内容，允许他人依法合理使用。
（保密论文在解密后遵守此规定）
作者签名:
二〇一〇年九月二十日
致 谢
时间飞逝，大学的学习生活很快就要过去，在这四年的学习生活中，收获了很多，而这些成绩的取得是和一直关心帮助我的人分不开的。
首先非常感谢学校开设这个课题，为本人日后从事计算机方面的工作提供了经验，奠定了基础。本次毕业设计大概持续了半年，现在终于到结尾了。本次毕业设计是对我大学四年学习下来最好的检验。经过这次毕业设计，我的能力有了很大的提高，比如操作能力、分析问题的能力、合作精神、严谨的工作作风等方方面面都有很大的进步。这期间凝聚了很多人的心血，在此我表示由衷的感谢。没有他们的帮助，我将无法顺利完成这次设计。
首先，我要特别感谢我的知道郭谦功老师对我的悉心指导，在我的论文书写及设计过程中给了我大量的帮助和指导，为我理清了设计思路和操作方法，并对我所做的课题提出了有效的改进方案。郭谦功老师渊博的知识、严谨的作风和诲人不倦的态度给我留下了深刻的印象。从他身上，我学到了许多能受益终生的东西。再次对周巍老师表示衷心的感谢。
其次，我要感谢大学四年中所有的任课老师和辅导员在学习期间对我的严格要求，感谢他们对我学习上和生活上的帮助，使我了解了许多专业知识和为人的道理，能够在今后的生活道路上有继续奋斗的力量。
另外，我还要感谢大学四年和我一起走过的同学朋友对我的关心与支持，与他们一起学习、生活，让我在大学期间生活的很充实，给我留下了很多难忘的回忆。
最后，我要感谢我的父母对我的关系和理解，如果没有他们在我的学习生涯中的无私奉献和默默支持，我将无法顺利完成今天的学业。
四年的大学生活就快走入尾声，我们的校园生活就要划上句号，心中是无尽的难舍与眷恋。从这里走出，对我的人生来说，将是踏上一个新的征程，要把所学的知识应用到实际工作中去。
回首四年，取得了些许成绩，生活中有快乐也有艰辛。感谢老师四年来对我孜孜不倦的教诲，对我成长的关心和爱护。
学友情深，情同兄妹。四年的风风雨雨，我们一同走过，充满着关爱，给我留下了值得珍藏的最美好的记忆。
在我的十几年求学历程里，离不开父母的鼓励和支持，是他们辛勤的劳作，无私的付出，为我创造良好的学习条件，我才能顺利完成完成学业，感激他们一直以来对我的抚养与培育。
最后，我要特别感谢我的导师赵达睿老师、和研究生助教熊伟丽老师。是他们在我毕业的最后关头给了我们巨大的帮助与鼓励，给了我很多解决问题的思路，在此表示衷心的感激。老师们认真负责的工作态度，严谨的治学精神和深厚的理论水平都使我收益匪浅。他无论在理论上还是在实践中，都给与我很大的帮助，使我得到不少的提高这对于我以后的工作和学习都有一种巨大的帮助，感谢他耐心的辅导。在论文的撰写过程中老师们给予我很大的帮助，帮助解决了不少的难点，使得论文能够及时完成，这里一并表示真诚的感谢。
浙公网安备 33021202002483