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ld figure out how to make the under lying cultural meanings explicit to the receiver. For example:金风玉露一相逢，变胜却人间无数。（秦观，《鹊桥仙》）If it is translated as“when golden wind embraces the dew ofjade, all the love scenes on earth, however, many fade”, the foreign ers may fail to grasp the information that“金风”means“windblowing in autumn”. In this respect, according to the translationstrategy of cultural compensation, the translator has to make a de tailed explanation of“金风”by translating it as“autumn’s goldenwind”so as to make up for the cultural default in the western cul ture, therefore conveying the intended cultural information as clearas possible. Cultural annotationIf the translator tries to be faithful to the original and retainthe artistic beauty of the original expression, cultural annotationwould be a good way. As is known to us, cultural default contains alot of cultural information. Owing to different cultural backgrounds,sometimes the image of gold in the poetry is closely related to thetraditional culture which would be difficult for the foreigners to un derstand. Hence, it is necessary for translators to provide footnotes.For example:金人秋泪，此恨凭谁雪。（文天祥《念奴娇》）E’en golden statues that should hear, the story would droptear on tear.Who would not strike a vengeful blow？（X.Y.Z.1988）Without any explanation of the image“gold statue”, the tar get-language readers may feel puzzled why it drops tears. Further more, it may fail to retain the artistic beauty of the original expres sion of the source text if too many explicable words are added inthe target text. Hence, it is necessary to provide the target-lan guage readers with some footnotes relevant to the image. Herecomes the footnote of the“golden statues”.Golden statues: In the period of Wei Dynasty, Wei Ming em peror sent people to move the golden statues to Luoyang. Duringthe journey, the golden statues dropped their tears, reflecting peo ple’s anger and grief when their own country was invaded. Cultural adaptationCultural adaptation refers to substituting of the target culturalschema for the original cultural schema. The strategy works wellwhen the cultural information in the original cultural schema ac cords with that in the target cultural schema. For example:我欲乘风归去，又恐琼楼玉宇，高处不胜寒。（苏轼，《水调歌头》）Yet I would wish to mount the winds and wander there,At home, but dread those onyx towers and halls of jade,Set so immeasurably high and cold. (John A. Turner 1976)The author translates“琼楼玉宇”into onyx towers and hallsof jade, which I think was too literal.“琼楼玉宇”here refers to aglory palace with extraordinary ornaments, which may not alwaysbe built in jade. Hence, this version may mislead readers. So, an other version provided by X.Y.Z would be better.In his version, he adapts the image of“琼楼玉宇”into“crys talline palace”, which means the splendid palace in the westernculture. Because the target cultural schema“crystalline palace”ac cords with the original cultural schema“琼楼玉宇”. Hence, thecultural adaption has little risk of misreading, or communicativefailure. Cultural omissionSometimes ,when faced with the cultural translation,which in volves too much processing effort to let the reader fully understandthe image of jade in the original text, we can choose the culturalomission strategy. Although someone thinks it may casue some cul tural default, it usually has enough information to convey the com municative intention of the original image and represent the origi nal culture.Here comes an example:谁家玉笛暗飞声，散入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。