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slated precisely. In ancient China, the night from dusk to dawn was divided into five periods, which was called five watches of the night. Here “五更” refers to the fifth watch of the night, which means before dawn. If “千里” and “五更” are translated word by word as “one thousand li”, “the fifth watch”, there would be formed an understanding barrier. For the foreign readers who are unfamiliar with Chinese measures, the meanings of “li” and “fifth watch” are hard to get. A footnote must be employed to explain, which will impede the enjoyment of appreciating the poem. Here it is unnecessary to translate it precisely. To translate the connotation meaning is all that the translator should do. A general noun with fuzzy meaning could be used to translate it. “Early dawn” has the meaning of indeterminacy, but it is better to convey the fuzziness of aesthetics than “fifth watch”.
 
   IV. Conclusion
Classical Chinese poetry is like the star shinning brilliantly in the milky way of Chinese language and Chinese culture. The great difference in language and culture between Chinese and English make the English translation of classical Chinese poetry a challenging and difficult task for many translators. Though it is hard to conquer, translators of China and abroad have been made great efforts in translation practice and basic theories.
Successful classical Chinese poetry translation does not mean to translate the original poetry by its structure, but the overall effect, that is, the effect of fuzzy aesthetics. If English versions can produce the same fuzzy aesthetics as the original do, translators do not have to be confined by the linguistic structure of Chinese poetry. The thesis makes a tentative study of the transference of fuzzy aesthetics in the translation of classical Chinese poetry on the theoretical basis of fuzzy aesthetics. And the thesis attempts to analyze the principle of "transferring fuzzy aesthetics" in translating classical Chinese poetry. The importance, feasibility and applicability of reproducing fuzzy aesthetics for the English translation of classical Chinese poetry is elucidated by comparing of different versions of poems.
In the thesis, the author tries to make study of classical Chinese poetry translation from the perspective of fuzzy aesthetics, which is a new perspective of study for literary translation. While emphasizing the importance of transferring fuzzy aesthetics, transfer original aesthetics one hundred percent is simply impossible in many cases. So the translator should be creative and show his subjective idea in the process of translation and try his utmost to reduce losses to the minimum. The translator should try his best to retain the multiple meanings in the original artistic conception and keep implicit what is fuzzy in the original.
Because of the implicitness and ineffable quality of imagery and artistic conception, there are not any effect and practical techniques that can solve the problem completely. But I hoped that this thesis will contribute to providing an artistic re-creation space for English translation of classical Chinese poetry. Fuzzy aesthetics, as it is, is still under the development. Through the perspective of fuzzy aesthetics, I hoped this thesis can give the readers and the translators a new view of translating classical Chinese poetry.
  
Bibliography
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