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onvey. The traditional view of translation as an imitation or copy of an original text in a second language proves inadequate not only in practice, however, it also rests on falsely static view of language. Neither the assumption that a language (even a “dead” language) is unchanging and completely defined, nor that an individual work is complete, whole and identical to itself, if held up under scrutiny. For one thing, historical changes occur in the original language: the meanings of words change, and even idiomatic forms and expressions change over the years. There is also the likelihood that the visible features of a writer’s style will change in the eyes of posterity; seemingly obvious stylistic tendencies may become less perceptible, while those that were only immanent may become more evident or important to later generations of readers. Therefore the foreignness of the foreign text can only be seen what currently appears “foreign” in the target language culture. 2) If the translation wants to seek a foothold in foreign market and target readers are not familiar with the source culture, the translator might not ignore cultural differences by adhering too closely to its own values. In order to achieve cross-cultural communication, for example, in Chinese-English translation, domestication should be used as much as possible. The strategy, of course, is used in view of current situation that “Anglo-American readers are not so familiar with Chinese culture as Chinese readers are familiar with Anglo-American culture”(Zhang Nanfeng, 2000). For English readers, therefore, the English version of Chinese translation should not be too difficult for them to understand. To some degree it should let the English readers find the same other in the Chinese translation at the linguistic level and to find the foreignness at the cultural level so as to get as equal a communication as possible (But not to convey some backwardness purposefully as “Red Sorghum” mentioned above just to satisfy foreigners curiosity falsely). In this way sentences, and sometimes even groups of sentences, must often be turned inside-out and wherever references are incomprehensible to anyone not closely familiar with the Chinese scene, a few words of explanation have to be brought up into the text that would normally appear in a footnote. 3) Generally speaking, the two characteristics of a good translation are, that it should be faithful, and that it should be unconstrained. Faithful means rendering correctly the meaning of the original and exhibiting the general spirit which pervades it; unconstrained, means not betraying by its phraseology, by the collection of its words, or construction of its sentences that it is only a copy. The first thing, without doubt, which claims the translator’s attention, is to give a just representation of the sense of the original. This, it must be acknowledged, is the most essential of all. The second thing is, to convey into source language, as much as possible, in a consistency with the genius of the language that the author writes, the author’s spirit and manner, and, the very character of the author’s style. The third and last thing is, to take care, that the version has at least, so far the quality of an original performance, as to appear natural and easy, such as shall give no handle to the critic to charge the translator with applying words improperly, or in a meaning not warranted by use, or combining them in a way which renders th