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h and her mourning on the fall of Northern Song dynasty. But in the author's point of view, it is the musicality evoked by the unique rhyme and reiterations that makes the lyric a never fading masterpiece. The magic musical power mainly comes from Li's deftly use of reiteration locution. Altogether there are seven pairs of reiteration sounds in this part of the lyric. Respectively they are 1.寻寻2.觅觅 3.冷冷 4.清清5.凄凄6.惨惨7.戚戚8.点点9.滴滴. Reiteration or the homophonic pairs of characters can prolong sound and thus add sentimental flavor to the lyric as sentimental melodies are usually played on soft and slow tunes, like the famous serenade composed by Schubert. People are enchanted by the sound aesthetics in the lyric even before they really get the meaning between the lines. A kind of fuzzy aesthetics permeated through the lyric mainly because of the sound effect. So whether the translation of this lyric preserves the fuzzy aesthetics or not is totally decided by how the translator deals with the unique rhyme and the nine pairs of homophonic characters.
The problem of version 1 is the lack of variety in words and sounds arrangement even though the translator uses alliteration of /s/, /k/ and the assonance /seek/ /clear/.  In version 1, the translator tries to imitate the original form by sheer repetition. But there is little poetic aesthetics produced in this poem, because it lacks associative connections between each group of repeated words. So the rhetorical use of words repetition does not play its role in the whole context. The first stanza is translated as “Search. Search. Seek. Seek. Cold. Cold. Clear. Clear. Sorrow. Sorrow. Pain. Pain.” Although this version can be regarded as the most faithful to the original among the three versions, the clumsy repetition fails to create the musical effect. The simple juxtaposition of the six words read like broken pieces lacking the original music sense of flowing water. Compared with “寻觅”, “寻寻觅觅” is not only the repetition of two characters, it actually slow down the inner rhythm of the lyric. In English poetry, there are also some cases o reiteration. For example, “Tiger! Tiger! Burning bright. In the forests of the night.” (William Blake, The Tiger) “Break, break, break. On thy cold gray stone O Sea!” (Alfred, Lord Tennyson Break, Break Break). The reiteration of “tiger or break” efficiently emphasizes the music sense but too much use can only reduce the effect. “Search, search. Seek, seek..." Seven pairs of repetition sound like a monotonous melody which has only two notes-doe, ray, doe ray... As a result, the lack of variety in version 1 drains the last drop of aesthetics in the origin while the seven mechanic repetitions dull the reader and almost all the fuzz aesthetics embedded in the original sound is lost.
Compared with version 1, version 2 and version 3 are better in transferring the fuzzy aesthetics in sound. Especially Lin Yutang’s translation, using /t/, /d/ for rhyme and /d/ sound for alliteration, conveys the original sound aesthetics to a higher degree. “So dim, so dark, so dense, so dull, so damp, so dank, so dead” can be regarded as a fine replacement to “寻寻觅觅，冷冷清清，凄凄惨惨戚戚. ” “So” is repeated seven times, leading seven various words, thus avoiding the dull sense in version one. All fine arts contain two elements-repetition and variation. The composer of music finishes a great piece by repeating certain musical notes in various combinations, or chords. Likewise,本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。