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poetry of Tang dynasty, such nouns are used to display and exploit the intrinsic characteristics, not merely to copy an object in nature. When we are reading these poems, we seem to be enjoying an expressive painting, forgetting the details, with only overall impressions haunting our minds. From the analysis above, we can see that unique syntactic features of Chinese language determine the fuzziness of poetic writing technique. Thus a kind of fuzzy aesthetics is contained between the lines of poems and the juxtaposition of images.
2.2.2 Fuzzy Aesthetics in Content
When it comes to content, fuzzy aesthetics mainly finds demonstrations in the poetic imagery.
2.2.2.1 Fuzzy Aesthetics in Poetic Imagery
As for poetic imagery, many translation theorists believe that the translation of imagery is essential for the successful translation of classical Chinese poetry. In Chinese poetic tradition, “language does not exhaust concept or what is meant” indicates the universality and fuzziness of meaning. The feelings are complicated and cannot be expressed fully by words. Chinese verse is condensed in imagery. These images are endowed with rich connotations and sometimes the poet's personal experience or feelings. Due to the implicitness of language, imagery conveys a kind of aesthetics, which is fuzzy, subtle, and difficult to tell. Imagery leaves much space for reader's imagination. In order to avoid verbal monotony, poets often try to use various images with multiple meanings so as to give greatest freedom to reader's own imagination. Multiplicity of meaning does not mean vagueness or ambiguity in meaning. It means richness and implicitness that result from poetical imagery. On the fuzziness and uncertainty of Imagery, in the monograph The Symbol of Imagery and Feeling Space，Wu Xiao points out that imagery is the reification and concretion of abstract meaning and feelings. But such kind of concretion can only be realized by metaphor, not by clear daily language. In this sense, imagery has the feature of fuzziness. Therefore, the association between any imagery and its meaning is not so strict, definite or clear-cut. (吴晓, 1993)
Poetic imagery refers to the fusion of settings and feelings. Settings are reflected by the objective description of the world, while feelings are reflected by the poets' subjective creation of emotions. In order to create poetical imagery with aesthetics as its intrinsic trait, a poet must make his poem meaningful so that the concrete emotional events and images he depicts in his poem can bear more meanings than they superficially have. As mentioned above, poetical imagery is composed of two parts: the real state and the imaginary state. The real state is the base to produce poetical imagery. It stands before readers and stirs the readers’ imagination so as to create the second state in reader's mind. The second state or setting is produced by readers’ imagination, so it is imaginary without limit.
Thus, we can see that poetical imagery is formed by co-operation between readers and poets. If readers are poor at Imagination, they could not sense the aesthetics in the poem. On the contrary, if they have rich imagination, they will have a wonderful experience when they are reading poems. The aesthetics of poetry lies in something that cannot be put into words yet is very vivid and real when you think about it. Taking the Sad Zither of Li Shangyin as an example:
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