nd sense. In Chinese Tang poetry, the beauty of form mainly refers to its unique external form,rhythm and language style. There are two major styles in Tang poetry. They are Gutipoetry and Jinti poetry. What’s more, Guti poetry can be classified into two major types:Wugu, each line with five characters, and Qigu, each line with seven characters. Jintipoetry also has its own types, and it can be divided into two major types: Jueju, fourlines each poem, and Lüshi, eight lines each poem. Jueju and Lüshi also have two types:Wuyan, five characters each line, and Qiyan, seven characters each line. There is asignificant difference between Guti poetry and Jinti poetry. Guti poetry hasn’t morelimitation on rhymes and rhythm and numbers of lines and characters, rhymes andrhythm. In contrast, Jinti poetry has strict limitation on these aspects.Based on the above analysis, although the styles of Tang poetry are various, Tangpoetry mainly belongs to forms of four characters, five or seven characters. Most of theTang poetry not only carries the same number of characters in each line, but also boastsof antitheses, endowing the outward appearance of the poetry with symmetric beauty.
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2.2 Translation Studies on Tang Poetry
In the realm of translation, there are many translators and scholars at home andabroad studying the translation of Tang poetry, but they don’t reach a consensusconcerning Tang poetry translation. Generally speaking, their views can be roughlydivided into three schools, namely metrical verse into free verse, metrical verse intoprose, and metrical verse into metrical verse. Different translators have different focuseson the original poem, therefore it forms these three schools. The first and secondschools lay emphasis on the images and meaning, and the third school is concerned withthe prosodic features of Chinese poetry. In the following, the author will make a reviewof some translation theories of Tang poetry in China and abroad.
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3 Theoretical Framework....15
3.1 Reiss and Her Translation Criticism Theory..........15
3.2 Main Contents of Reiss’s Translation Criticism Theory......15
3.3 The Subjective Limits of Translation Criticism.....24
4AComparative Study of Different English Versions of Jing Ye Si.........26
4.1Analysis on the Original Poem Jing Ye Si.......26
4.1.1 On the Contents........26
4.1.2 On the Phonological Features.......27
4.2 Different English Versions of Jing Ye Si .........28
4.3AComparative Study of Eight Translations of Jing Ye Si....30
4.4 FactorsAffecting Different English Versions of Jing Ye Si.........38
4.5 Summary........44
5 Conclusion.........46
5.1 Research Findings of the Thesis .......46
5.2 Limitations and Suggestions for Further Research.......47
4AComparative Study of Different English Versions ofJing Ye Si
4.1Analysis on the Original Poem Jing Ye Si
Among all Tang poems on theme of the moon, Jing Ye Si, which was composed byLi Po (701-762) in 726, has enjoyed great popularity over the past thousands of yearsbecause of its concise form and succinct language. It is no exaggeration to say that inChina even a child of five or six years old can recite Jing Ye Si fluently. The originalpoem Jing Ye Si is as follows. With a change in rhyme and a rise in tone, the latter two lines further deepen thehomesickness portrayed through the vivid depiction of action and posture. The Chinesecharacter “望” being correlated wi
