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ing them out. Miao Yu, one of the Twelve Hairpins, performs her life inthis way: For all your would-be spotlessness / And vaunted other worldliness / You thatlook down on common flesh and blood / Yourself impure shall end up in the mud (^！^玉：欲洁何曾洁，云空未必空；可怜金玉质，终陷泥淖中。）.What is of intense indicationis Epilogue: The Bird Into The Wood Have Flown (《收尾.飞冯各投林》），the last pieceof all of the proses and poems of HLM. It draws a picture of flocks of sorehead birdsdashing into the wood. The flock perfectly represent the ragged, shabby dandies,madams and concubines in the Grand View Garden, who have finally realized theirdestinies Like birds who, having fed, to the woods repair / They leave the landscapedesolate and bare (好--似食尽鸟投林，落了片白茫茫的大地真干净!). As Zhan Dan(2004:1) expounds that poems in a fiction naturally set a lyrical tone and add to itselfthe sentiment upon which a masterpiece of literature functions, where there is a piece ofpoem there is a climax. Hong Poetry in HLM wonderfully illuminates this point. ZhouRuchang (2004:289) exclaims that readers are more admirers for Hong Poetry than forthe story itself. As a matter of fact, composing poems has naturally become the chiefand essential expressive manner for the author to scheme the plots and chisel thecharacters' temperaments. It is safe to say that nobody short of a poetic spirit can graspthe spirit of this masterpiece.It is evident that Hong Poetry takes an enormously significant occupation in HLM.conform to those that the target readers are accustomed to，how can they be interpreted?It may be these points that win Hawkes' version a broad market.Second, it casts much light upon the English rendering of Chinese classical poems,wherein there exist a great deal of rhymes, allusions, phrasing, sentence patterns, artisticconcepts, and even some rhetorics which are more marked and complicated in HongPoetry, such as splitting and hiding characters in lines. However, it happens to be thebeauty and profoundity of Chinese classical poems. https://www.51lunwen.org/yyfy/org201211162223218096.htmlHow to transfer all of these as broadas possible to the Westerners? How to make them have the same feelings as the Chinesedo? Hawkes* skills, strategies and self-experience lead the coming translators to a wayof perfectly representing the Chinese classical poems. In order to acquire these, it isnecessary for translators, both at home and abroad，to make scrupulous studies, absorbmerits from preceding materials and proffer greater contributions.

 

1.2 The Five-Xiang Beauties theory
Gu Zhengkun (2003) puts forward a theory called “土.象美论” as an evaluativesystem of Chinese poems. “五象美论” is completed on the basis of five traits ofChinese characters that their foreign counterparts, especially those of different languagefamilies, are lack of. Structural Linguistics upholds that a certain language and itsculture are constructing each other. During this bidirectional movement, language isplaying a decisive part (Gu Zhengkun 2003:6). The reason why Poetry is acclaimed asthe pearl of every culture is that it commends itself with the crystals of its language.Chinese poetry, the pearl of Chinese culture, whose beauty congolomerates Chineselanguage or characters' five traits: “视象”，“音象”，“义象”，“事象”，and “味象”，whichis repectively relative to the readers' senses of seeing, hearing, feeling, smelling andassociating. This theory makes the evaluative system objective, scientific, andsystematic. It is proved that it has grasped the features of bo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。