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摘要：社会发展，文化交流的深化，无疑将促进不同文化的交汇和渗透。翻译，跨文化交际和文化遗产的推广，促进世界文学的大荟萃起着积极的作用。因此，本文的研究诗歌翻译，翻译诗歌容易发生分析文化障碍，根据不同文化之间的关系，将包括在诗意的图像目标语言文化和文化之间的关系分为三个：文化的巧合，文化和文化并行默认的翻译时提出的替代措施。

hundred mountains and no bird,
A thousand paths without a footprint;
A little boat, a bamboo cloak,
An old man fishing in cold river snow.

The translator omitted all the verbs to create a still world, which displayed the original spirit of this poem. According to Lv Shuxiang (lv, 1980), Bynner’s translation “静的性质就特别浓厚，就更和画面接近”. To some degree, the translator succeeded in translating this poem. But it is still a question whether the western readers can have the same feeling on the image conveyed in this poem as the Chinese readers. In their opinions, this poem may only describe an objective quiet world. It is hard for them to understand the aloofness of the poet.
Here is another translation of this poem:

From hill to hill no bird in flight,
From path to path no man in sight,
A straw-cloak’d man afloat, behold!
Fishing in snow on river cold.
Mr. Xu Yuanchong described a man who was fishing, transmitted the intrinsic spirit of this poem and conveyed the detachedness of the poet.

3.4 Characteristics

e quite different in characteristics from the western people. The former are usually more traditional and reserved. They are implicative, while the western people are open-minded, active and outspoken. They incline to speak their real sentiments.

There is a famous Chinese verse《木兰辞》, which was translated into Ode of Mulan. It is a story about a female general, who disguised herself as a man and joined the army in her aged father’s place. There are such lines in this verse as “问女何所思？问女何所忆？女亦无所思，女亦无所忆。” Some foreign translators translated them as “tell me, are you thinking of your lover? Tell me, are you missing your beloved”, by which shows the romanticism. But this kind of translation betrayed the original poem. In the ancient times, Chinese girls were bred within their own family yards and hardly had connection with the outside world. Their parents were strict with them and prevented them from any romantic ideas. It is obvious that the translator adopted the western way of thinking.

Xu Yuanchong translated it as:
Mother asks what she is thinking of,
And who she is longing for.
She says she is neither thinking of anything,
Nor is longing for anyone.
Here is another version:
They ask Daughter who’s in her heart,
They ask Daughter who’s on her mind.
“No one is no Daughter’s heart,
No one is on Daughter’s mind.”
---- Tr. Han. H. Frankel

The latter two versions reflect the conservative characteristics of Chinese girls, which are really introducing the Chinese culture to the outside world.

Part IV. The Strategies of Translating Images in Poetry

4.1 The Translatability of the Images in Chinese Poetry