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br />  庄生小梦迷蝴蝶，望帝春心托杜鹃。
沧海月明珠有泪，蓝田日暖玉生烟。
此情可待成追忆，只是当时已惘然。
                                   李商隐《琴瑟》
This poem is the most ambiguous of Li Shangyin’s poems. It is subject to various interpretations: some say it was written in remembrance of his deceased wife, others say it epitomized the poet's personal life or his poetical or political career. Different readers may have different interpretations about the imagery in this poem.
Classical Chinese poetry is economical, simple and tight. The vocabulary of Chinese poems tends to be more limited than other poetry in the world, Chinese poets excel at using few words to express complicated concepts that can give ordinary readers a sense of surprise. However，even though such words or expressions are beyond our experience, the associations latent in the poem are not so difficult for us to grasp.
 
III Transference of Fuzzy Aesthetics in English Translation of Classical Chinese Poetry
In the previous chapters, we have discussed the effects of fuzzy aesthetics in classical Chinese poetry. In this chapter, the author attempts to put forward the principle of transferring fuzzy aesthetics in English translation of classical Chinese poetry and tries to make an analysis about the ways of transferring fuzzy aesthetics through a comparison of different translation versions of classical Chinese poems. 
3.1 The Principle of Transferring Fuzzy Aesthetics
The theory of “spirit” is becoming more and more popular in Chinese literary translation circle. Mao Dun(矛盾)，Guo Moruo(郭沫若)，Zhu Shenghao(朱生豪) and Fu Lei(傅雷) etc, all of these translators and translation theorists unanimously agree on this ,point. Mao Dun says that "spirit" is the most important part in a poem and in translation. If we can represent the same spirit of the original text, it does not matter how much to change its rhyme or meter. Guo Moruo shows a poet's romantic genius in his translation theory. He claims that the crucial thing for the translation of poetry is to retain the aesthetics no matter it is translated in rhythmical form or not. Fu Lei expresses his viewpoint briefly as: to put emphasis on transference of spirit instead of form. Recently, more and more translation workers have noticed the fuzzy phenomena in literary works, especially in classical Chinese poetry. Hence, how to reproduce fuzzy aesthetics of poetry into another language becomes a focused concern. The author thinks that fuzzy aesthetics is invisible and intangible, but we can feel it because it is imbedded in words and responded by reader's imagination. In translation, we have to transfer such kind of aesthetics by words. Therefore, a good translator ought to be skilled at organizing those carefully chosen words to transfer fuzzy aesthetics in the original poem.
3.2 Transferring Fuzzy Aesthetics at Different Levels
Under the guidance of the principle of “transferring fuzzy aesthetics”, in the following section, different versions of translation will be listed and analyzed to see how to transfer fuzzy aesthetics in classical Chinese poetry.
3.2.1 Transferring Fuzzy Aesthetics in Sound
Fuzzy aesthetics in sound lies in the fact that poetry has a close relation with music. Music is different from language. It can be subjected to various interpretat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。