空白与留白——接受美学视角下的中国古诗英译

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GAPSINS1月ANDGAPS．PRESER、厂ATIONINTIJ—TRANSLATIONoFCLASSICALCHINESEPOETRYFROMTHEPERSPECTIVEOFRECEPTIONAESTHETICSByWanYingyingUndertheSupervisionofProf．ZhouFangzhuAThesisSubmittedinPartialFulfillmentOftheRequirementsfortheDegreeofMasterofArtstotheSchoolofForeignStudiesAnhuiUniversityMay2013 独创性声明本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其他人已经发表或撰写过的研究成果，也不包含为获得安徽大学或其他教育机构的学位或证书而使用过的材料。与我一同工作的同志对本研究所做的任何贡献均已在论文中作了明确的说明并表示谢意。学位论文作者签名：乃屯强签字日期：hf弓年f月并日学位论文版权使用授权书本学位论文作者完全了解安徽大学有关保留、使用学位论文的规定，有权保留并向国家有关部门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。本人授权安徽大学可以将学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存、汇编学位论文。(保密的学位论文在解密后适用本授权书)学位论文作者签名：乃蓖蓖导师签名：签字日期：Ⅻ侈年渗月斗日签字日期：学位论文作者毕业去向：工作单位：电话：通讯地址：邮编：熙缓日 AcknowledgementsThispaperisaccomplishedundertheinspirationandinstructionsofmyrespectablesupervisor,Prof．ZhouFangzhu．Iamextremelygratefultohimforhisilluminatingdirections，valuablesuggestionsandconstantencouragementthroughoutthewritingofthispaper．Withouthissupervision，thispaperwouldnothavecometothepresentform．1wouldalsoliketoexpressmygratitudetotheprofessorsmentionedbelow：ProfiZhuYue，Prof．ZhuXiaomei，Prof．ZhuYubin，Prof．YuNianlian，Prof．LuZhihongetc．Ihavebenefitedalotfromtheirearnestteachingwhichisofgreathelpformystudy．Theirlectureshavebroadenedmyknowledgeandhorizon．Besides，Ialsowanttoexpressmysincerethankstothosecopyrightholdersfromwhoseworksthequotationsarecited．Atlast，mygratitudegoestomydearclassmatesandfriends．Theyhavemademanyvaluablesuggestionstothetopicselectionofthepaperandreferencesthatareofgreathelptothepaper． AbstractClassicalChinesepoetry,terseinlanguageandprofoundinartisticconception，expressespoets’bounteousfeelingswithlimitedwords．ItoccupiesanimportantpositioninChineseliteratureandisspreadandstudiedthroughthousandsofyears．Inthecircleoftranslationstudy,scholarsproducealargenumberoftranslationsofclassicalChinesepoetryandthestudyofitdevelopswellnomatterinscopeordepth．However,traditionalstudyonpoetrytranslationlaysitsfocusontheprocessingofwordsandgrammar,neglectingthemobilizationofTLreaders’aestheticinitiative．Borninthe1960s，receptionaestheticsplacesreadersatthecentralplaceofliterarytheoriesandaestheticalstudies，transferringthefocusofliteraryresearchfromwritersandtheirworkstotheaestheticreceptionandaestheticexperienceofreaders．Asauniquetheoreticalframework，receptionaestheticsnotonlyprovidesanewperspectiveforliteraryresearch，butalsobringsnewenlightenmenttotranslation．Basedonthetheory,theauthorofthethesispointsouttranslatorsshouldtakeTLreaders’aestheticexpectationintoconsideration，considertheirexpectationhorizonandemphasizetheplayoftheirimagination．LiterarycriticsandpoetsinancientChinahavealwaystreatedthecreationofimplicationandtheexpressionofmeaningbetweenlines，beyondlinesandbehindlinesasthehighestlevelofpoetrywritiIlg．Theexistenceofgapsinclassicalpoetrycontributesalottoachievethatgoal．Gapsnotonlyshowtheingenuityofpoets，butalsoprovidewidespaceforreaders’imagination．Theyarecriticalfortherealizationoftheartisticvalueandtheaestheticvalueofpoetry．SohowtoreproducegapsinthetranslationofclassicalChinesepoetryshoulddeservetranslators’attention．Startingfromtheperspectiveofreceptionaesthetics，theauthorofthethesischoosesgapsinclassicalChinesepoetryastheobjectofthestudy．Firstly,theauthormakesacategorizationofthegapsinclassicalChinesepoetryandanalyzestheirartisticvalueandaestheticvaluewithconcreteexamples．Thensheappliesthetechniqueofgaps．preservationwhichatfirstisusedintraditionalChinesepainting，exploringthenecessityofgaps-preservationinthetranslationofclassicalChinesepoetry．Finally,ii theauthorputsforwardseveralmethodstopreservegapsanddiscussesfactorsthatmayaffectrealizationofgaps-preservation．TheauthorofthesisbelievesthatgapsinclassicalChinesepoetryshouldbeproperlypreservedintranslationtogiveTLreaderschancetoreconstruct‰textandgive向llplaytotheirimagination．Gaps-preservationispossiblebutitisbynomeansaneasything．ItneedstranslatortoconsiderartisticfeaturesoforiginalworkandexpectationhorizonofTLreadersandtotreatworkwithgreatcare．ToapplyreceptionaestheticsintodiscussionaboutgapsinclassicalChinesepoetryisanewattemptinstudyofpoetrytranslation．Bydiscussingimportanceandprocessingmethodsofgapsinpoetrytranslation，theauthorhopestoimprovequalityoftranslations，provideTLreaderswithproperaestheticspaceinpoetryappreciationandrealizeaestheticvalueofpoetryart．Keywords：poetrytranslation；receptionaesthetics；expectationhorizon；appealingstructure；gaps；gaps-preservation 摘要古典诗歌语言凝练，意境深远，以有限的文字诉说诗人无限的情怀，在我国文学史上占有举足轻重的地位，数千年来不断被后人传诵、研究。在译界亦是如此。不仅诗歌译作纷呈，对诗歌翻译的研究无论是在广度还是在深度上都大为拓宽。然而，传统的诗歌翻译研究侧重词语语法层面的探究，却缺乏对读者审美能力的关注。诞生于20世纪60年代的接受美学理论将读者置于文学理论、美学研究的中心地位，将文学研究的焦点从作者和作品转移到译文读者的审美接受和审美经验。这种独特的理论不仅为文学研究提供了新的视角，更对文学翻译产生了新的启示。以此为理论基础，本文作者提出了对译文读者审美期待的重视，将其期待视界纳入译者的考虑范围，关注其想象空间的发挥。中国古代文学评论家及诗人历来将言外之意，象外之旨的作为诗歌创作的最高境界。诗歌空白特征的存在对实现这一目标起到了关键作用。它不仅体现了诗人的匠心独运，更为广大读者提供了广阔的想象空间，对诗歌艺术价值和审美价值的实现至关重要。在中国古典诗歌英译的过程中，如何将诗歌的空白特征准确传达，便成为译诗的一大难题。故此，本文以接受美学的相关理论为基础，将中国古典诗歌的空白特征作为研究对象。首先，本文作者对中国古典诗歌的空白类型进行分类，并结合实例分析其艺术价值和审美价值。然后将中国山水画创作过程中采用的留白手法运用到翻译实践，探讨在诗歌翻译过程中通过留白手法保留原诗艺术价值和审美价值的必要性。最后，作者结合实际译例，提出了在诗歌翻译过程中实现留白的几种方式，并指出可能影响留白实现的主要因素。本文作者认为，中国古典诗歌的翻译应保留与原作类似的空白结构，给译文读者留下重构文本的机会和发挥自身审美能力的想象空间。留白可为，而又难为，需要译者将原作的艺术特点及译文读者的期待视乔纳入考虑范围，在创作译文时精心雕琢。本研究是将接受美学理论运用于诗歌翻译研究的一次新的尝试。作者希望通过探讨译诗过程中留白这一手法的重要性及其实现方式，提高译作质量，满足译文读者的期待视界，为其鉴赏诗歌译作留下合理的审美空间，从而实现诗歌艺术的审美价值。 关键词：诗歌翻译；接受美学；期待视界；召唤结构；空白；留白 ContentsAcknowledgements⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯iAbstract(EnglishVersion)⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．iiAbstract(ChineseVersion)⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯ivContents⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯ViListofFigures⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．viiiListofAbbreviations⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．⋯⋯⋯⋯⋯⋯⋯⋯⋯．viiiChapterOneIntroduction⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．11．1ResearchBackground⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯11．2ResearchQuestionsandMethodology⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．11．3ResearchObjectiveandSignificance⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．21．4OrganizationoftheThesis⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．3ChapterTwoLiteratureReview⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．52．1PreviousStudiesofPoetryTranslationatHome⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．52．2PreviousStudiesofPoetryTranslationAbroad⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．82．3Summary⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．10ChapterThreeTheoreticFramework⋯⋯⋯⋯．⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．123．1IntroductiontoReceptionAesthetics⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．123．2MajorConceptsofReceptionAesthetics⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．143．2．1ExpectationHorizon⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．．⋯⋯．．⋯⋯．⋯．⋯．．．．⋯143．2．2Readers’Role⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．163．2．3AppealingStructure⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯17 3．2．4TranslationfromthePerspectiveofReceptionAesthetics．．．．．．．．．．．．．．．．．．．．．．．．．19ChapterFourGapsandGaps-preservationintheTranslationofClassicalChinesePoetry⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．224．1GapsinClassicalChinesePoetry．⋯⋯⋯⋯．⋯．⋯．⋯⋯．⋯⋯．⋯⋯⋯⋯．⋯．⋯．⋯．⋯．．．234．1．1CategoriesofGapsinClassicalChinesePoetry⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．234．1．2ImportanceofGapsforClassicalChinesePoetry⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．304．2Gaps-preservationintheTranslationofClassicalChinesePoetry．．．．．．．．．．．．．．．．．．324．2．1WhatisGaps-preservation⋯⋯．⋯⋯⋯．⋯．⋯．⋯⋯⋯⋯．⋯．⋯⋯．⋯．⋯．⋯⋯⋯．⋯．334．2．2Gaps-preservationfortheMaintenanceofPoetry’SValue⋯⋯⋯⋯⋯⋯⋯⋯．344．2．3HowtoPreserveGapsinPoetryTranslation．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．394．2．4FactorsAffectingGaps··preservation．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．47ChapterFiveConclusion⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯505．1MajorFindingsoftheThesis⋯⋯．⋯⋯．⋯⋯．⋯．⋯．⋯⋯．．⋯⋯．⋯⋯⋯．⋯．．⋯．⋯．⋯．⋯505．2LimitationsoftheStudy．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．511lVilI·ksCRed⋯．⋯⋯⋯．⋯．⋯⋯⋯．⋯⋯．⋯⋯．⋯⋯⋯⋯⋯．．⋯⋯⋯．．⋯．⋯⋯⋯⋯．⋯．．⋯⋯⋯．⋯．．5：!Publications⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．!；4 ListofFiguresFigure1PoetryTranslationProcess⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．20ofAbbreviationsTL——targetlanguageSL——sourcelanguageTLT—targetlanguagetextSLT——sourcelanguagetext ChapterOneIntroductionI．IResearchBackgroundPoetry,acrownjewelinhumanbeing’Sliterarycreation，isasuperbwayoflinguisticexpression．Itusesterselanguagetoreflectpeople’Sreallifeandshowspoets’de印emotionsandrichimagination．ThisisthesametoclassicalChinesepoetry．Asanancientcountryinhistory,Chinahaswitnessedthecreationofnumerouspoeticworksthroughtheages．EspeciallytheclassicalChinesepoetry,itoccupiesanimportantpositioninChina’Shistoryofliterature，nomatterinquantityorinquality．Knownfortersenessinlanguage，complexityinartisticconception，distinctivenessinrhythmandimplicitnessinemotion，classicalChinesepoetryhasbeencomplimentedasthetreasureofChineseculture．Itmanifestsnotonlytheliteraryattainmentsofpoetsthemselves，butalsothenation’Sculturalcharacteristicsandhistoricalbackground．WiththeeverincreasingexchangesbetweentheEastandtheWest，moreandmoreforeignscholarsbegintodevelopaninterestinclassicalChinesepoetry．Inthepast100years，translationactivitiesofclassicalChinesepoetrydevelopedfast．TranslationoftheBookofSongs,theSongsofChuandpoemsproducedintheTangandSongDynastiesincreasedsharply．EvenYuanqu，whichoriginallywasneglected，begantobetranslatedonalargescale．Therefore，thetranslationstudyofclassicalChinesepoetry,whichcanpromotethecontinualdevelopmentofChina’Spoetryartandenhanceforeigners’understandingofChinesepoetry,hasattractedmanyscholars’attention．一1．2ResearchQuestionsandMethodologyAsatranslatorofclassicalChinesepoetry,oneneedstoreproduceinhistranslationthecontentaswellastheartisticformanduniquestyleoftheoriginalversion．AsforclassicalChinesepoetry,oneofitscharacteristicsisthe“gaps”，whichhelpcreateakindoffuzzybeautyandleavereadersanimmensescopeofimagination．Butitisobviousthatthose“gaps”areoftenneglectedbytranslators，manyofwhom TranslationofClassicalChinesePoetryfromthePerspectiveofReceptionAestheticspreferalinguistictranslationapproachandfocusonthepresentationofthesubtlefeaturesoforiginallanguageandpatterns．Thisapparentfaithfulnessoftenleadstothelackofpoeticflavorandtranslationbecomesasheercombinationofwords．Undersuchacircumstance，TLreaders10setheopportunitytogivefullplaytotheirimaginationandcan’tgainthesameaestheticenjoymentasSLreaders．Therefore，thisthesisanalysesthetranslationofclassicalChinesepoetryfromtheperspectiveofreceptionaestheticsandfocusesonthefollowingquestions：(1)Why“gaps”intheSLTshouldbepreservedinpoetrytranslationfromtheperspectiveofreceptionaesthetics?(2)Can“gaps-preservation'’beconducivetothemaintenanceoftheoriginalwork’Sartisticvalueandaestheticvalue?(3)Throughtheanalysisofconcreteexamples，thisthesisstudieswhetherthose“gaps”canbepreservedinTLT．Iftheanswerisyes，thenhowandtowhatextentCantheybepreserved?Whatfactorswillaffecttherealizationofgaps-preservation?Inordertoanswerthequestionsmentionedabove，thisthesisexaminesmanytranslationexamplesandconcentratesonthecomparisonofdifferenttranslationversionsofthesamepoetry．Fromthedimensionsofmeaning，syntax，structure，imageandtheme，thisthesisstudiesthe“gaps’’inoriginalworksfi'omtheperspectiveofreceptionaestheticsanddiscussesthepossibilityof“gaps-preservation'’inpoetrytranslation．Majormaterialsareselectedfromtheworksoftranslatorsathomeandabroad，suchasXuYuanchong，WenXianliang，KennethRexroth，etc．1．3ResearchObjectiveandSignificanceManystudieshavebeenconductedonsuchtopicsaboutpoetrytranslationasthetranslatabilityofpoetry,literaltranslationandliberaltranslation，thepreservationofrhythmandrhyme，etc．Differentfromtraditionalresearchperspectives，thisthesispaysspecialattentiontotheeffectsproducedbytranslationworksandmakesanattempttostudythetranslationofclassicalChinesepoetrybytakingTLreader’Sreactionandparticipationintoconsideration．Afterall，thefmalpurposeofpoetry2 ChapterOneIntroductiontranslationistoprovidesomethingforreaderstoappreciateandtospreadthepoetryartofonecountrytoanother．Especiallyforpoetry,suchauniqueliterarygenre，thereexistmanyindeterminateplacesforreaderstothinkabout．TranslatorscannotusetheirownunderstandingoftheoriginaltoaffectorreplacetheunderstandingofTLreaders．Receptionaestheticsholdsthattranslationworksshouldgivereadersenoughspacetoimagineandthe‘‘gaps’’orfuzzinessoftheoriginalworksshouldbepreservedtogivethemthechancetoreconstructthetextandtoformtheirownunderstanding．Awork，intheviewofHansRobertJauss，themostfamousrepresentativeofReceptionAesthetics，isnotcompletedwithoutbeingread．‘‘Thehistoricallifeofaliteraryworkisunthinkablewithouttheactiveparticipationofitsaudience．Foritisonlythroughtheprocessofitscommunicationthattheworkreachesthechanginghorizonofexperienceinacontinuityinwhichthecontinualchangeoccursfromsimplereceptiontocriticalunderstanding，frompassivetoactivereception，fromrecognizedaestheticnormstoanewproductionwhichsurpassesthem．”(Jauss，1987：24)Thisthesisdepartsfromtheperspectiveofreceptionaesthetics，discussesthecharacteristicsof“gaps’’inclassicalChinesepoetryandaimstoputforwardthemethodsof‘‘gaps-preservation'’topromotethedevelopmentofpoetrytranslationandthemobilizationofTLreaders’aestheticcompetence．1．4OrganizationoftheThesisThisthesisconsistsofsixchapters．Thefirstchapterintroducestheresearchbackground，questions，methodology,objective，significanceandtheorganizationofthewholepaper．Thesecondchapterisliteraturereviewaboutstudiesofpoetrytranslationathomeandabroad．Thethirdchapterisaboutthetheoreticalframeworkofthethesis，namely,receptionaesthetics，includingitsdevelopmentandmajorconceptswhicharerelatedtopoetrytranslation．Thefourthchapterdiscussesthecategoriesof‘‘gaps’’inclassicalChinesepoetry, therelationshipbetweengapsandclassicalChinesepoetry,howtopreservegapsinpoetrytranslation，theimportanceofgapsandgaps-preservationincreationandtranslationofclassicalChinesepoetry．Thelastchapterisconclusionpartofthisthesis．4 ChapterTwoLiteratureReviewPoetrytranslationstudyinthepastcangenerallybecategorizedintofIVekinds．ThefirStkindmainlyfocusesonthetheoriesandmethods，suchasthedisputeaboutliteraltranslationandliberaltranslation，three—beautyprinciple，etc．Thesecondkindiscenteredonthetranslatabilityofpoetry．Thethirdkindisresearchonthehistoricalmaterialsaboutpoetrytranslation．Thefourthkindistranslationcriticismofpoetry．Andthelastkindisresearchofpoetrytranslationfromtheperspectivesofotherdisciplines，extendingtheresearchsubjectandbringingoutmanynewideas．Thefollowingisareviewofpreviouspoetrytranslationstudiesathomeandabroad．2．1PreviOUSStudiesofPoetryTranslationatHomePoetrytranslationhasalonghistoryinChinaandthemostancientpoetrytranslationworkisPoemsofYuePeople，whichcouldbedatedbackto2500yearsago．Formanyyears，translationworksofclassicalChinesepoetryproducedbyChinesescholarsarelargeinquantity,suchasSelectionfromFamousAncientChinesePoemsbyHuangLong，SelectionofTangandSongPoemsbyYangXainyiandhiswife，150TangPoems，100TangandSongCiPoems，300TangPoems(BilingualEdition)byXuYuanchong，etc．Practiceisalwaysaccompaniedbytheorystudy．DatingbacktothelateQ崦Dynasty,Chinesescholarsbegantoconducttheoreticalstudiesofpoetrytranslation．Someofthemwereinspkedbythetranslationpracticetheydidandsomeusedtheirtranslationphilosophyastheguidanceforpractice．WrenYiduo，inhisThe肠出ofLipo,theChinesePoet(闻一多，1915)，makesacommentonShigeyoshiObato’StranslationofLiBai’Spoemsandexpressesthat“itisimportanttohavetheabilitytoidentifyapoet’Srealworksthatareworthoftranslating'’andifpossible，thetranslatorhadbetterkeeptheoriginalwordnumberandpatterninhistranslatedtext．Heputsforwardtwostepsforpoetrytranslation：thefirstoneistounderstandthemeaningoftheoriginalandthesecondoneistoexpressthatmeaninginTLperfectlybyusingthelanguageofpoetry．Andthereproductionoftheimagesintheoriginalisanecessarypartofpoetrytranslationart． TranslationofClassicalChinesePoetry疗砌thePerspectiveofReceptionAestheticsChengFangwubelievesthattranslationworksofpoetryshouldbeworthofappreciat崦(成仿吾，1985：128)andCanarousereaders’sympathyforothersaswellasthedesketomakeprogress．InOnPoetryTranslation，hesays‘'poetryshouldbetranslatedaspoetry'’．Hecomesupwithtwomethodsforpoetrytranslation．Thefirstmethodistoexpress，namely,touseone’Sperceptivenessandsavvytograspthelifeofapoemandthentoexpressitinwordsorpatternsthataredifferentfromtheoriginal．Theimportantpointliesintheexpressionoffeelingsandessenceoftheoriginal．Thetranslatorcanimaginehimselfasthepoetandthenexpresshisinnerfeelingswithallpowersandenthusiasmhehas．Thesecondmethodistoconstitute，namely,toke印theoriginallinguisticstructureandrhythmtocreatethesamecontextandimagesandtopresenttheimplicationsoftheoriginal．Theimportantpoimliesintheperseverationoftherelationshipamongthewordsintheaspectsofcontentandrhythm．ConsideringYanFu’Sthree-characterstandard—faithfulness，expressivenessandelegance(信、达、雅)，theideaof“besimilarinspiritorform'’(神似形似)andthedisputeaboutliteraltranslationandliberaltranslation(直译异译)，BianZhilinsetsforthhiscriterionfortranslation—faithfulness，similarityandtranslation(信、似、译卜byselectingeachwordfromthem．Especiallyforthetranslationofpoetry,anorganicunityofcontentandformaswellasmeaningandsound，BianZhilinthinksitisofgreatimportancetorealize‘‘faithfulness’’intheaspectsofcontentandform,stronglyemphasizingthepreservationofapoem’Soriginalformandinsistingthat“apoem’Sspiritisinitsform；itsspiritwillbelostifatranslatorfailstokeepitsform'’．Therefore，whentranslatingapoem，thetranslatornotonlyneedstoaccuratelyexpressthecontentoftheoriginalpoem，butalsodoeshisbesttoimitatetheforminaccordancewiththeinnerrulesofmodemChinese．OnlywhenthetranslatordoesthatCanhesuccessfullyexpressthemeaningofthepoemandreproduceitsstyleandVerVe．The‘'three-beautyprinciple’’putforwardbyXuYuanchongexertsagreatinfluenceinChina．‘'Beauty’isthekeyconceptofXuYuanchong’Stheory．Hethinksthatapoetrytranslatorshoulddohisbesttorealize：thebeautyinsense，notonlythe6 literalmeaningbutalsothedeepmeaning，namely,imageandartisticconception；beautyinform，themostdistinctiveartisticfeaturethatmakespoetrydifferentfromotherliterarygenres；beautyinsound，bothrhythmandrhyme．Theimportanceofbeautyinthethreeaspects，however,isnotatthesamelevel．XuYuanchongstatesinhisbookTheArtofTranslationthat‘'whentranslatingChinesepoems，atranslator’Smostimportanttaskistoreproducethebeautyinsense．”(许渊冲，1984：113)．Sowhenthree-beautycannotbeachievedatthesametime，beautyinsensealwayscomesfirst．XuYuanchongappliesthistheoryinhisownpracticeandpublishesmanyworkswhicharehighlypraisedinChina．ApartfromProf．XuYuanchong’S‘'three—beautyprinciple”，anotherinfluentialcriterionforpoetrytranslationinChinais“PluralComplementarismofTranslationStandard(PCTS)”proposedbyProf．GuZhengkun．AccordingtoPCTS，thevalueofaworkisrelativebecausetherealizationofthatvaluedependsonthereceptors(appreciators)whosestandardsvaryfrompersontoperson．Therefore，standardsthatcanbeusedforpoetrytranslationandvalueassessmentaremorethanone．Hethinksthestandardsystemismadeupofthreeparts，absolutestandard—supremestandard—concretestandard．AbsolutestandardreferstotheSLTitsel￡astandardthatcanneverbereached．becauseitmeanstheTLTisidenticalwiththeoriginal，whichisimpossibleinpractice．Supremestandardisthebestdegreeofapproximation，theidealsimilarityoftheTLTtotheSLT．Supremestandardisanabstractidea,SOconcretestandardsshouldbesettosupport．tbecausenosinglestandardcanbeusedtoassessalltranslationworksortoguidealltranslationpractice．Theseconcretestandardsoccupythecorepositioninthepluralsystemoftranslationstandard．GuZhengkun’Stheorymadeagreatstirwhenitwasproposed．“It’SnotdifficultforUStofigureoutwhyitdrewsuchattentionbecausePCTSWasformulatedatatimewhentraditionaltranslationtheoriesnearlyremainedstagnantwithoutnewelements．AnditisPCTSthatinfusedfreshbloodtoChinesetranslationtheories．”(谢海燕，2007)AlongthehistoryofpoetrytranslationstudyinChina，scholarshaveconductedvariousstudiesfromdifferentperspectives，includingpoeticmeter，appreciationmethodsofpoetry,etc．Furthermore，moreChinesescholarsinrecentyearsbeginto7 TranslationofClassicalChincSePoetryfromthePerspectiveofReceptionAestheticscombinepoetrytranslationstudywithnewresearchfindingsinothersubjects，suchaslinguistics，cognitivepsychology,sociology,semeiologyandSOon．Forexample，someapplysystemic-functionalgrammartothestudyofpoetrytranslation，suchasProf．HuangGuowenwhostudiedDuFu’Spoemsbyanalyzingtheirideationalfunction,interpersonalfunctionandtextualfunction；somecombinecommunicationsciencewithpoetrytranslation,usingthelatestresearchfindingsinthisareatoexplainthetranslationprocesswhichisdividedintoseveralphases，likedecoding，analysis，transformation，output，etc．，andfocusingoninformationtransferfromSLtoTL．Inaword，poetrytranslationstudyinChinaincreasinglyshowsaninterdisciplinaryfeature．2．2PreviousStudiesofPoetryAbroadSeveralrepresentativesinthefieldoftranslationstudyabroadalsodidresearchonpoetrytranslation．J0llIlDrydenhoMsthatonlyexcellentpoetscouldbecomeexcellentpoetrytranslatorsandreducesalltranslationtothreecategories，namely,metaphrase，paraphraseandimitation．(Munday,2001：25)Drydenhimselfprefersparaphrase，advisingmetaphraseandimitation，twoextremes，beavoided．Apoetrytranslator,inhisview,canchoosenewwordinginaccordancewiththecharacteristicsofTLculture，butheCanneverchangeordestroytheessenceoftheoriginal．Inhislife，heproducedalotoftranslations，suchasVirgil’SAeneid,Phtarchus’theLivesoftheNobleGreciansandRomans，Homer’StheIliadandFables,AncientandModernandatranslationcollectionincludingtheworksofOvid，Chaucer，Boccacio，etc．Inaddition，JamesS．HolmesandSusanBassnettalsoexpressedtheirownideasaboutpoetrytranslation．Asfortheissueofpoetry’Stranslatability,Holmesdisagreeswiththoseextremelyoppositeideas．“Henotonlyopposestheideaofequivalencewhichishardtorealize，butalsogivesupthepessimisticconclusionthatpoetrycan’tbetranslated．”(马士奎，2009)HeappliesgametheorytopoetrytranslationstudyandholdsthatatranslatorshouldrecognizethedifferencesbetweentwolanguagesandtwocukuresandmaketheplanthatCanproducethebestresult．Bassnettconducts8 ChapterTwoLiteratureReviewpoetrytranslationfromculturaldimension．ShedisagreeswithRobertFrost’Sdefinitionofpoetry,namely‘‘Poetryiswhatgetslostintranslation'’．Otherwise，shethinkspoetry,toalargeextent，iswhataddedintranslation．(Bassnet，2001：60)InTransplantingtheSeed：PoetryandTranslation，shedescribespoetrytranslationas‘'plantingseed”，aprocessinwhichthetranslatorshouldconsidermanyfactors，suchasthestructureofthepoem，thefunctionofthepoeminSLcontext,etc．Apoemisanorganicwhole，SOitstranslatorcan’temphasizeoneaspectatthepriceofthewhole．SpeakingofforeigntranslationofclassicalChinesepoetry,theearliestonewhomadeanattemptabroadmaybeS．Jenyns，aBritishscholarinthe18mcentury．Lateron,histranslationworkswerecomposedasSelectionsfromthe300PoemsoftheTangDynastyandAFurtherSelectionsfromthe300PoemsoftheTangDynasty．Afterwards，manyforeigntranslatorsproducedtranslationworksofclassicalChinesepoetry,suchasW．J．BainbridgeFletcher’SGemsfromChineseVersein1918，ArthurWaley’SAHundredandSeventyChinesePoemsin1918，AmyLowellandFlorenceAyscough’SFir-flowerTabletsin1922，S．Obata’STheWorksofLiPo，theChinesePoetin1922，WitterBynnerandJiangKanghu’STheJadeMountain：AChineseAnthology,BeingThreeHundredPoemsoftheTangDynastypublishedinNewYorkin1929．Sincethelastcentury,otherfamousscholarswhotranslatedChinesepoetryincludeSirJ．F．Davis，H．A．Giles，L．CranmerByng，etc．TheynotonlyintroducedtheartoftraditionalChinesepoetrytoforeigncountries，butalsofoundthenewimpetusforpoetrycreationandexertedaninfluenceonpoetrycreationinwesternsociety．EspeciallyinAmerica，scholarsofgenerationshavemadecontinuousresearchintoChinesepoetryanditstranslation．DatingbacktotheNewPoetryMovementin1910，classicalChinesepoetrybegantoattractAmericanpoetswithitsexoticflavoranditsrestraintandimplicationinemotion．AfterWorldWarII，thephilosophicalthoughtscontainedinclassicalChinesepoetry,suchas“unityofheavenandman”，‘'peacefulmind”，etc，werereflectedintheworksoflocalpoets．Overtheyears，Americantranslatorsproducedmoretranslationworksthanthoseinanyotherwesterncountry,whichmadeAmericabecomeastudycenterofclassicalChinesepoetry．AmongthosewhowerededicatedtothestudyofclassicalChinesepoetry,Ezra9 Pond，thepioneerofImagism,istheonethatcallnotbeneglected．HeoncecompiledCathay,publishedin1915，includingthetranslationof14poemsofLiBaiandWangWei．CathaywaspopularamongAmericanreadersandinfluencedgenerationsofAmericanpoets．Pond，likeotherimagists，foundinclassicalChinesepoetrytheimagestheywerelookingforandastyleofconcisenessandsimplicitytheyadored．Hehasbeencriticizedforchangingtheoriginaltextsbyomittingoraddingsectionstohistranslations，thoughsomepeoplethinkthatthefidelityofCathaytotheoriginalisbesidethepoint．Hethinkspoetryshouldshowthepoweroflanguageandpoetrytranslationshouldreleasethatpowerthroughrhythm，imagesandchanges．HeinsistsonabandoningtheartificialandraretranslationwordingoftheVictorianAge，re—creatingonthebasisoftheoriginalandrealizingfaithfulnessthroughrhythm．ApartfromPond，KennethRexroth，arepresentativeoftheBeatsGeneration，startedtotranslateDuFu’Spoemsattheageof19．In1956，hepublishedOneHundredPoemsfromtheChinese．Hewasgreatlyinfluencedbytheworkshetranslated，especiallytheideasofChineseTaoism．Inhispaper,ThePoetasTranslator，hedescribespoetrytranslationas“anactofsympathy'’(Rexroth，1961：19)，consideringtranslationasaprocessofempathy．TranslatorsworkasabridgetopasstheemotionsandexperienceofSLwriterstoTLreadersandarouseemotionalresonancebetweenthetwosides．Literaltranslation，fromhispointofview,canonlyleadtomechanicalworkswhichseemtohavethesamepatternastheoriginal．Poetrytranslatorsshouldke印inmindthecharacteristicsofTLhnguageandTLreaders’aesthetictasteandusepoetiClanguageofartisticappealtoexpresstheessenceoftheoriginal．2．3SummaryPreviousscholarsmadegreatachievementonthestudyofpoetrytranslation．Theirresearchandfindingscertainlypushforwardthedevelopmentofpoetrytranslationandprovideusefulguidancefortranslationpractice．However,manyofthemstillsticktothesupremestatusofsourcetextandfewofthemhavepaidenoughattentiontoTLreaders’aestheticexpectationandthemobilizationoftheiraesthetic competence．Asaresult，thereismuchtobeexploredinthisfiled．Thisthesis，startingfromtheperspectiveofreceptionaestheticsanddiscussingtheprocessingmethodsofgapsinpoetrytranslation，willcertainlyextendtheresearchareaofpoetrytranslation． ChapterThreeTheoreticFramework3．1IntroductiontoReceptionAestheticsAfterWorldWarIIto1950s，theFederalRepublicofGermanunderwentaperiodofpeaceandstability．Peopleatalllevelsfocusedtheirattentiononsocialandeconomicdevelopment．Thedepoliticizationmentalityofstrivingforsocialwelfareandloathingpoliticalturmoilprevailed．Inaccordancewiththatmentality,atrendofformalism··beawayfromsocietyandreality··cameintobeinginthefieldofliterarycriticismandaesthetics．Studiesofaestheticsandliteraturetriedtoavoidanyinfluencefromnon—literaryornon—artisticfactors．TheSchoolofLiteraryCriticsappeared，holdingthataliteraryworkshouldbetreatedasanindependentstructurebreakingawayfromrealitiesandexistingforitsownsake．Theyobjectedtoanalyzeliteraryworksbytakingintoconsiderationpolitics，economy,intellectualhistoryorevenpsychologicalfactorsandbelievedthetaskofliterarycriticismwastomakeanaestheticanalysisandexplanationofthelanguageandstructureofawork．In1960s，however,theFederalRepublicofGermansawhugechangesundertheinfluenceofconflictsathomeandabroad．Thetendencyofpoliticizationgraduallyreplaceddepoliticization．TheoriesofLiteraryCriticsseemedantiquatedandcouldn’taccountforthenewliteraryphenomenaatthattimewhennewshiftsemergedincultureandpeople’Smindandliteraturesharplybecamepoliticized．Thosetheorieskeptstudiesofliteratureandaestheticsawayfromrealityandreadersandledliterarycreationmoveforwardinaformalistway．Undersuchacondition，receptionaestheticscameintobeing．Startingfromtheangleofreaders’reception，itcombinesaestheticautonomywithhistoryandrevealsthenatureofartandliteraturecomprehensivelyanddialectically．Correspondingwiththebackgroundinthe20mcenturythatthestudyfocusofwesternliterarycriticismandaestheticsgraduallytransferredfromwriterstotextsandthenfromtextstoreaders，receptionaestheticsplacesreadersatthecentralpositionofliterarytheoryandaestheticstudy,developingquicklyatlate1960sandreachingitsheydayfrom1970stoearly1980s．Itwasthe ConstanceSchoolinGermanythatfirstheldtheflagofReceptionAesthetics，andthemostactiverepresentativesoftheschoolwereHansRobertJaussandWolfgangIser．Jauss’Sstudyofreceptionaestheticscanbedividedintotwostages．Inthefirststage，heestablishesreceptionaestheticstochallengethetraditionalhistoryofliterature，criticizingtheinappropriatetendencyofseparatingliteraturefromhistoryandthenreconstruct访gtheintrinsictiebetweenthem．Inthepaper,LiteraryHistoryasaChallengetoLibraryTheory，hewrote‘'thecontinuouslygrowing‘literarydata’whichappearintheconventionalliteraryhistories’’areonly‘'thecollectedandclassifiedpastandthereforenothistoryatall，butpseudo-history'’(Jauss，1987：10)．Historicalfactsexistinacertainobjectivechainofcausalit5but‘‘literaryfacts’’arenotthesame．Ontheonehand，aliteraryworkreflectsthewriter’Scharacteristicsandintentions；ontheotherhand，theinfluencesandeffectsitexecsonthereadersareanindispensablepartof“literaryfacts”．Therefore，“literaryfacts’’arenotmerelyahistoricalchainofcausality,butincludetheparticipationandinvolvementoftwosubjects—writeandreader．Thehistoricaldevelopmentof‘‘literaryfacts’’areentirelydeterminedbythemselves，butgreatlyinfluencedbythemultipleinteractionamongwriters，literaryworksandreaders．Jaussalsocriticizestheformalisticviewofliteraryhistory,whichattributesthedevelopmentofliteraturetothedevelopmentofliteraryformitselfandseveredthetiesbetweenliteratureandsociety．HesetsforththeconceptofExpectationHorizontoconnectwriters，worksandreaderstogetherandconsiderstheliteraturehistoryasahistoryofeffectsandacceptance．Inthesecondstage，Jauss’Sstudyfocusesonaestheticexperience，which，inhisview,isthekernelofreceptionstudy．HedisagreeswithAdornoTheodor’Sideathatfundamentallycancelsaestheticexperienceandenjoymentandsimplyascribesaestheticenjoymenttothebourgeoisie’Sattitudetowardsculture．Hethinksthenatureofaestheticexperienceisaestheticenjoymentandthussafeguardsthecriticalstatusofaestheticexperienceinthetheoryofliteratureandart．Heputsforwardthethreebasiccategoriesofaestheticenjoyment，namely,poiesis，aesthesisandcatharsis，whichdynamicallyconstitutethewholeconnotationofaestheticexperience．WolfgangIser,influencedbyRomanIngarden’Sphenomenology,hasadifferent researchfocusfromJaussandendeavorstosetupread吨phenomenology．Heconsidersthereadingprocessasanactiverelationshipbetweenliterarytextsandreaders．Literaryworksarenotliterarytexts．Aliteraryworkconsistsoftwoparts：oneistheartisticpart，namely,thetextandtheotheroneistheaestheticpartwhichisrealizedbyreaders．Asanaestheticobject，aliteraryworkisdynamicallycreatedintheprocessofreading．Inotherwords，thecombinationoftextsandreaderstogetherleadstothecreationofliteraryworks．Therefore，allofhistheoriesareabouttheinteractionandinterrelationshipbetweentextsandreadersintheprocessofreading．Isercomesupwithanimportantconcept，“appealingstructure”，todiscussreaders’activitiesinreading，namely,theirparticipationintheformationofawork’Ssignificance．Theconceptof“appealingstructure”willhefurtherdiscussedinthenextsectionofthischapter．3．2MajorConceptsofReceptionAestheticsReceptionaesthetics，appearingasanewparadigminliteraryresearch，hasshiftedthefocusofliterarystudyandexertsagreatinfluenceontheworld．Basedonthetheoriesofhermeneutics，phenomenologicalaesthetics，Russianformalism，Praguestructuralism，Marxistaesthetics，etc，receptionaestheticsformeditsownconceptswithdistinctivefeatures．Someofthemthatareenlighteningforpoetrytranslationareintroducedhere3．2．1ExpectationHorizonExpectationhorizonisdevelopedfrom‘'pre-understanding”，aconceptproposedbyHeidegger．Pre-understandingincludesthreeaspects：culturalnorms，conceptualsystemandpresuppositionsthatareaderhasbeforehereadsaliterarywork．Jaussdevelopeditintoexpectationhorizon．Becausepre—understandingistargetedforthegeneralactivitiesofunderstandingandcognition，itissomewhatnotapplicableforliteraryreadingwhichismainlyforaestheticappreciation．Jaussthinksone’Sexpectationhorizoncomes‘‘fromapreviousunderstandingofthegenre，fromtheformandthemesofalreadyfamiliarworks，andfromthecontrastbetweenpoeticandpracticallanguage”．(Jauss，1987：11)It—S‘aspecificattitudeofthe14 audience(anaRitudethatprecedesthepsychologicalreactionaswellasthesubjectiveunderstandingoftheindividualreader)”．(Jauss，1987：12)Intermsofliteraryreading，expectationhorizoninJauss’Sviewincludes：first，familiarizationandmasteryofcertaintypesandstandardsofliteraryworks：oneshouldknowthecharacteristics，standards，ordimensionofaworkandbeabletoidentifyitstypeandjudgewhetheritmeetsthecriteriaofthattype；second，knowledgeofsomeworkscreatedatpresentorinthepast，liketheworks’content，form,theme，style，etc．，whichaccumulateinreaders’mindandformarelationbetweentheirpsychologyandnewworkstoberead；third，readers’practicalexperiencefromreality,whichactsasareferencesysteminthereadingprocessandwithwhichreaderssometimeswillcomparethefictionalworldwithpracticallifeandcompareliterarylanguagewithdailylanguage．Jauss’Sviewaboutexpectationhorizon，tosomeextent，neglectsthatone’Smentalstructure——hisspiritualandculturalworld——alsoparticipatesintheactivitiesofcreationandappreciation．Thefamiliarizationandexperienceofthetypes，criteria，themes，formsofliteraryworks，namelyone’Sliterarycompetence，can’tentirelyrepresentone’Smentalstructure．Inadditiontoliterarycompetence，ProfessorZhuLiyuanstatesthatareader’Sexpectationhorizonalsoincludesanotherthreeaspects(朱立元，2004：204)，withwhichtheauthorofthisthesisagrees．Thefirstoneisareader’Soutlookonworldandlife，whichisreflectedeverywhereinhislife．Appreciationofliteraryworks，involvingtheunderstandingoftheintellectualsignificanceandemotionsofthoseworks，willdefinitelybeinfluencedbyhisoutlookonworldandlife．Thesecondoneisareader’Sculturalhorizon,includinghis’literacylevel，intelligence，knowledge(ofphilosophy,naturalandsocialscience，languagesandSOon)，practicallifeexperience，influenceoftraditionalcultureuponhim,hisacceptanceofforeigncultureandhisknowledgeofthedecreesandregulations，etiquette，customsandhabitsofacertainnationalityorinacertainarea．Thethirdoneisareader’Sartisticattainmentsbecauseliteratureiscloselyrelatedtootherkindsofartsandutilizestheexpressionformsofotherarts．Readingisabidirectionalprocess．Ontheonehand，howaliteraryworksatisfies，surpasses，disappoints，ordisprovesthereaders’expectationobviouslygivesa15 criterionforthedeterminationofitsaestheticvalue．Ontheotherhand，readersgetnewaestheticexperiencefromreading．Theiroriginalexpectationhorizonwillbeadjustedandenlargedundertheinfluenceofsomethingthatisdifferentfromorevencontrarytowhathasalreadyexistedintheiroriginalhorizon．3．2．2Readers’RoleScholarsofromanticisminthe18mand19mcenturiesbelievedthatthemeaningofaworkiscreatedbyitswriter．Theyattachedgreatimportancetowritersandplacedwritersatthecentralplaceofliterarystudy．Theninthe20mcentury,Russianformalism，Praguestructuralism,Americannewcriticismetc．，abandonedthewriter-centeredopinionandstatedthatthemostimportantpartofaliteraryworkwasitstextandthetext—centeredopinioncameintobeing．Differentfromtraditionalliterarytheoriesinwhichreadersareseenaspassivereceiversandloweredtoasubordinateposition，receptionaestheticsupgradesthestatusofreaders．“Inthetriangleofauthor,workandreadingpublic，thelatterisnopassivepart,nochainofmerereactions，butevenhistory—makingenergy．Thehistoricallifeofaliteraryworkisunthinkablewithouttheactiveparticipationofitsaudience．”(Jauss，1987：8)Thatmeansthereadingprocessisnotaone—wayprocessinwhichthewriterinstillsimagesandmeaningsintothemindofthereaderswhopassivelyacceptwhattheyread．First，justasdiscussedinthelastsection，areaderalreadyhashisownexpectationhorizon．Thisattitudeorhorizondeterminesareader’Sacceptanceanddiscardofawork’Scontentandformaswellashisevaluationaboutthework．Second，eachreaderhasauniqueunderstandingandinterpretationofthemeaningofaworkandhisreceptionofaliteraryworkisan“interpretativereception”．Thiscertainlybringsouttheissueofthesubjectivityoftheinterpretationandthetasteandlevelsofdifferentreaders．OnethousandreaderswillresultinonethousandHamlets．Third，readingisare—creationprocessforareader’Simagination．Anewliteraryworkevokesareader’Spastaestheticexperiences．Whenthatevocationhappens，areaderwillcomparehisoldhorizonswiththenewhorizonspresented．Whenheacceptsthenewliterarywork，heactuallyhasmadeanadjustmentorchangetohisoriginalhorizonor attitude．“This‘horizonchange’isnotmerelyarousedbytheliterarywork,butalsobythereader’Screativeimaginationandcognitiveparticipation．”(朱立元，2004：63)Fouah，theartisticlifeofaliterarywork,inasense，isdecidedbyreaders’reception．Someworksenjoyagreatpopularityatthebeginningbutsoontheyareforgottenbythepublic；somearenotpaidmuchattemiontoattheoutsetbutlatertheytookoffbecauseofreaders’need．Besides，readersalsoplayanimportantroleintherealizationofaliterarywork’Smeaningandvalueinthelightofreceptionaesthetics．Somescholarsbelieveliteraryvalueisanobjectiveattributeofliterature．However,literaturehasvaluebecauseofitsinfluenceonsociety,humansandhuman’Sspiritualworld．Therefore，theviewof“objectiveattribute”，whichcutsofftherelationbetweenliteratureandhumanorhuman’Sspiritualworld，isuntenable．Somesticktotheviewof“writer—endowing’’thatawritercreatesthevalueofaliteraryworkthroughtheobjectificationandsymbolizationofhissubjectivity,characterandaestheticexperience．However，thevalueofaliteraryworkismainlyreflectedonitsinfluenceuponothersinsteadofthewriterhimself．Ifaliteraryworkonlyhasinfluenceonthewriter,itcanonlybetreatedasatransitionalpatternofthewriter’Ssubjectivity．Therefore，theviewof“writer-endowing”isalsounacceptable．Receptionaestheticsholdsthatthevalueofaliteraryworkisnotonlyendowedbyitswriterandthetextitself．Itisrealizedandenrichedbyreadersintheprocessofreading。Aliteraryworkdoesn’texistindependentlyanditsvalueandmeaningarenotpermanentorpurelyobjective．Itismorelikeamusicscore，providingthesameaestheticobjecttoreadersatallagesandstirringupdifferentechoesintheaestheticprocess．Thevaluesystemofaliteraryworkisaninfiniteandchangeableoneanditisalsoadynamicpatternthroughwhichthewriterandreadersinteractwitheachother．Onlythroughreaders’creativeread吨Canthemeaningandvalueofaliteraryworkgettheirrealexistence．Otherwise，itisonlypiecesofpaperwithdeadlinguisticsymbols．3．2．3AppealingStructureLiteraryworksarefullofgapsandindeterminacieswhichconnectthecreation consciousnessandthereceptionandbecomeanecessaryconditionforthetransformationfromtheformertothelatter．Gapsandindeterminacies，causedbythedifferencebetweenthetextandreaders’expectationhorizon，spurreaderstoexplorethemeaningofaworkandtherebygivethemtherighttoparticipateinthemeaning-formationprocessofthework．AccordingtoIser,gapsandindeterminaciesformawork’Sbasicstructure，namely“appealingstructure”，whichwilldefinitelyarousesreaders’enthusiasmforparticipationandcreativeimpulse．Therealizationofthepotentialitywilleventuallymanifestthereaders’subjectivity．Somescholarsthink‘‘Gapandindeterminacyrefertowhatpoetsdon’tconveyintheimagegroups，butreaderscanseeandsenseitbetweenthelineswiththeirpoetryattainment”．(张孝评，1995：124)Thatmeans“gap”iswhatthepoetwantsthereadertoexplorebythemselves．Somedefme“gap”asthespaceforimagination，stimulatedbythedescriptioninthepoem，i⋯etheimagesbeyond，thescenesbeyond，therhythmbeyond，theflavorbeyond，etc．”(顾正阳，2006：372)InIser’Sview,‘‘gaps”refertOthepartwhichisnotstatedorclearlystatedinthetext．Theyareimpliedtoreadersthroughwhathasbeenwritteninthetext．Gapsexistatalllevelsofawork,especiallyintheaspectofplot．Anexcellentworkmustprovidereaderswiththediversityofreadingandcomprehension．Itshouldbeamultilevelstructureunfinished，fullof“gaps”．“Gaps’’cangivereadersthefollowingpossibilityatanytime：toconnecttheworkwiththeirexperienceaswellastheirimaginationabouttheworldandthengeneratevariousassociativemeaning．Theyprovideawidespaceforreader’Sreflectivethinkingandbecomethemostbasicstructuralfeaturethatdistinguishesliterarytextsfromnon-literaryones．Theyareamotivatorthatstimulatesreaderstocompletetextsandproduceworkswiththeirownimagination．Readersintheprocessofreadingcontinuouslymakeexpectations，predictionsandjudgmentsabouttheconnectionofsentences，thedevelopmentofplotandthepresentationofmeaning．Itistheunwrittenpartthatmakesthedynamicnatureofliteraryworksfullypresented．Therefore，“‘gaps’arenotaweakpointofliteraryworks，butthecharacteristicandadvantageofthem,thestartingpointfromwhicha work’Seffectsemerge．”(周方珠，2004：275)Theyarethestructuralmechanismofthetexts—callingforreaders’activereading．“Whenjudgingaliterarywork，ourattentionshouldgotowhatitdoesn’tstateinsteadofwhatitstates．Itisinthesignificantsilenceorgapsinmeaningthattheeffectsofaliteraryworkhide．Ifaworkhasfewgaps，itcan’tbeconsideredasanartisticwork,letaloneagoodartisticwork．”(瓦尔宁，1975：235-246)3．2．4TranslationfromthePerspectiveofReceptionAestheticsTraditionalpoetrytranslationtheory,whichholdspoetrytranslationisakindofrepresentationoftheoriginalwork，highlystressestheimportanceofthetextandconsiderstheSLwriterasthecreatoroftheworkandthesourceofthemeaning．Itviewstranslationasaone—wayprocess，ignoringthestatusofatranslatorandhisinfluencesontheworksfromhispersonalexperience，knowledgeandtranslatiIlgstyle，namelytheexpectationhorizondiscussedbefore．Theintroductionofreceptionaestheticsintotranslationstudyhas‘‘putforwardaboldskepticismandchallengestothetraditionalideasonthe‘Equivalence’and‘Fidelity’．”(李文凤，2007)3．2．4．1TranslationProcessFromtheperspectiveofreceptionaesthetics，translationisaninteractionprocessofthewriter’Sexpressionandtranslator’Sexpectationhorizonaswellasamultiplere．creat吨processwhichisbasedontheoriginaltextandinwhichatranslatordealswiththe‘‘appealingstructure”ofatextundertheinfluenceofhisexpectationhorizon．Sotranslationisatwo-wayprocesswhichinvolvesatleasttwostagesandinwhichatranslatorplaysadouble-role：hedealswiththe“appealingstructure’’ofatextundertheinfluenceofhisexpectationhorizonasareaderandreconstructsthetextforTLreadersasawriter．(SeeFigure1) Inthefirststage．understandingoftheSLTisofgreatimportance．Thetranslator’ScommunicationwiththeSLTwillinfluencehisreconstructionofthetext．Heneedstofilli11thegapsintheSLTandanalyzestheprofoundmeaninginitbymobilizinghisexpectationhorizonwhichwillbefusedwiththenewhorizonprovidedbythetext．Inthesecondstage，thetranslatorproducestheTLT,butheCan’twritedowneverythinghesensesinthefirststage．TLreaders，justasSLreaders，arenotpassivereceiversandtheyneedtOgiveafullplaytOthekownexpectationhorizoninliteratureappreciation．TLTisalsoaliterarytextanditsmeaningcanonlyberealizedthroughTLreaders’activeparticipation．Therefore，thetranslatorshouldtakeintoconsiderationTLreaders’aestheticexpectationsandreceptionlevelsandleavethemenoughspaceforimagination，makinghisexpectationhorizonfusewiththatofthereaders．Intheprocessofpoetrytranslation，thesetwostagesinterweavewitheachother,theformerdeterminingthetranslator’SunderstandingofSLTandthelatterdirectlyinfluencingTLreaders’receptionofTLT．3．2．4．2Translator’SRe．creationFromtheperspectiveofreceptionaesthetics，translationinnatureisaspecialreadingprocessinwhichtranslatorsarenotinapassiveposition，buthavetotaketheinitiativetore-createtheSLT．Theirexpectationhorizons，namelylifeexperiences，aestheticexperiences，literatureattainments，psychologicalexperiencesoftherealworld，etc．tosomeextent，decidetheirunderstandingoftheoriginalpoetry．TheywillgeneratedifferentexplanationevenwhendealingwiththesameSLT．Eveniftheystartfromthesamepointofexplanation，therewillbedifferenceintheprocessof20 expressing．Theymaywritethemselvesinthetranslationsmoreorless．Inotherwords，translators’subjectivitywillbeshowntovaryingdegrees．Therefore，translators’re-creationexplainsthepossibilityoftheexistenceofdifferenttranslationsofthesameworkandmeanwhiledeniestheideathatthereisonlyanunchangeableandabsolutetranslationversionofaliterarywork．Therealdifficultyoftranslationisbynomeanstoconveywhathasbeenclearlystated，butliesinthefactorsthatseemuntranslatableorthedifferencesexistingbetweentheSLandtheTLandbetweentheSLcultureandtheTLculture．ItiStruethatsomemeanings，features，expressions，etc．arepeculiartotheSLorSLculture．TheyfailtoberepresentedinthetranslationastheyareintheSET,affectingthequalityoftranslationorevenmakingtranslationimpossible．Todealwithsuchasituationalsoasksforatranslator’Sre．creation．HeneedstocommunicatewiththeoriginalwriterandtheoriginalworkandthentocreativelyproducehistranslationoftheWOrk．啪latdeservesourattentioniSthatatranslatorcannotrecreateinanunlimitedway．Re·creationdoesn’tequaltoadaptationatone’Sownwillandshouldbecontrolledinaproperrange．Althoughthetranslatoroccupiesaprominentstatusintheprocessoftranslating，SLTstillworksasthestartingpoint，whichmeansthetranslator’Sre—creationshouldbebasedontheoriginalworkandhisimaginationisnotabsolutelyinfinite．Thetranslatorhastowellunderstandthewriter,thework，thehistoricalorliteraryelementscontainedintheworkandtheculturalimplicationbehindthework．Whenhisexpectationhorizoncontradictswiththatbroughtbytheoriginalwork，heshouldhavethecouragetobreaktraditionaldiagramexistinginhismindandacceptnewideasSOastowidenhisexpectationhorizon．HecannotmisleadTLreaderswithhisundueimaginationandexcessivere—creation．OnlyinthiswayCanhefulfillthetaskofconnectingtheSLwriterwithTLreaders． TranslationofClassicalCllinesePoetry觚nthePerspectiveofReceptionAestheticsChapterFourGapsandGaps—-preservationintheofClassicalChinesePoetryInterpretationofartisticworksalwaysfallsintoadilemma．Ontheonehand，peoplepursueclarityandaccuracyinordertodirectlystudytheissueconcernedandacquireanobviousanddefmkeanswer；ontheotherhand，implicitnessandconnotationofaworkarepreferredandpeoplewanttoexperiencethosetemperamentswhicharerichandcomplicated，likeappreciatingabeautifulflowerinamirrororadmiringthegloriousfullmoonthroughitsreflectioninwater．Theformerrequkestheaccuracyofaworkwhilethelatteridentifieswiththegapsorindeterminaciesinthework．Inthehistoryofliterature，thereisaphenomenonthatisworthofconsideration：thegreateraworkis，theeasieritwillbemisunderstood，andthemoreitwillbeunderestimated．ThisisthesametoclassicalChinesepoetry．Manypoems，especiallythoseexcellentones，containmoregapsandinnovativeelementswhichexistinalmosteveryaspect．Contemporariesofthewritercan’tunderstandhimwithinsuchashoaaestheticdistance．Therefore，DuFu，afamouspoetintheTangDynasty,oncelaughedatthosewholibeledandattackedthefouroutstandingpoetsintheearlyTangDynastyandwrotethefamousline，“尔曹身与名俱灭，不废江河万古”，whichmeansthenamesofmediocrewriterswillbeforgotten，butthoseofthegreatmasterswilllive．Infact，it'spossiblethatevenreadersoflateragesstillcan’tthoroughlyunderstandthepoemsproducedbefore，letalonereachingaconsensus．JustlikethecomprehensionofHamletvariesamongreade／'s，SOdoestheinterpretationofapoem．AstheinherentessenceofclassicalChinesepoetry,theexistenceofgapsisanartisticfeatureofliteraryspiritinChina．ItisthekernelsubjectofliteraryhermeneuticsinancientChina,standingforthegenerationandfunctionmechanismofChineseartcharacterizedbyartisticconception．Inthefollowingsections，wearegoingtodiscussthegapsinclassicalChinesepoetryanditsinfluenceonthetranslationofclassicalChinesepoetry．22 4．1GapsinClassicalChinesePoetryClassicalChinesepoetryisanextraordinaryachievementinChina’Sliteraryworld，presentingspecialtechniquesofexpressionandartisticstyle．Amongitsaestheticqualities，likerhythm，artisticconceptionetc．，themostimportantfeatureofclassicalChinesepoetryistheexistenceofgaps．Literarycreatorsconstantlypursuetheapplicationofgapsintheirworks，whichisconsideredasthehighestlevelofpoetrycreation．Gapsdonotrefertoastateofnihility,butamoreingeniousmethodinartisticcreation．Theappearanceofgapsisoutoftheconsiderationofreaders’aestheticreception，becausethepropertyofopennessendowsreaderswiththe啦htandspaceforaestheticconsciousness．Gapscombinetogethertheaestheticsubjectwiththeaestheticobjectandintegratethecreationprocesswiththeappreciationprocess．Throughthegapsinpoems，readersreachahighlevelofaestheticstate，realizingthefusionbetweenthemselvesandtheexpectationhorizonpresentedbythetext．Mr．ZhuGuangqianinhisearlyyearsoncemadeaprofoundcomment，“Wordsarelimitedwhilemeaningsareinfinite．Thebeautyoflkeratureismoredisplayedinthelatterthanintheformer．Broadlyspeaking，artisticworksarenotbeautifulforwhathasbeenshown，butfortheimplicitparttobeexplored．ThisistheSO．called‘quietbeauty’ofliteraryworks．”(朱光潜，1982：480)4．1．1CategoriesofGapsinClassicalChinesePoetryGapsinclassicalChinesepoetrygenerallycanheclassifiedintofIVecategories，namely,semanticgap，syntaxgap，structuregap，imagegapandthematicgap．AllkindsofgapstogetherconstructthefuzzybeautyandprofoundartisticconceptionofclassicalChinesepoetry,providinganappreciationopportunityforreadersof’generationsandleadtovariousinterpretations．4．1．1．1SemanticGapThefirstcategoryissemanticgap．Thephenomenonofpolysemyfrequentlyhappensintheprocessoflanguageuse．MostwordsarepolysemousandtheonesthathaveonlyonemeaningarefewinnumbenTherefore，semanticgapfirstlyisfundamentallycausedbythepolysemouspropertyofhnguage．Awordmayhave23 literalmeaningaLswellasconnotativemeaningandcanarousedifferentreflectionamongdifferentreaders．Forexample，“轻舟”and“己过”inLiBai’SSettingofffromtheBaidiCityatDawn(《早发白帝城》)reflectthepoet’Smoodofrelaxationanddelightwhenheisabsolvedonthehalfway．Inthedeeplayer’however，theyalsoexpressafeelingofregretandpityforthepoetcouldn’tenjoythebeautifulsceneryduetothetorrents．Awordmayhavegeneralmeaningandculturalmeaning．Intheline“碧玉妆成一树高”，“碧玉”isgenerallyusedtodescribethewillowwhichisasgreenasashinyjade．Whilefromtheculturalperspective，“碧玉”referstothebeautifulconcubineofKingRunanintheSouthernDynasties．ReadersmayimaginethewillowaLsawomanwhohasagracefulandcharmingf培ure．SoreadersCangetvaryingfeelingsaccordingtotheirownunderstandings．Furthermore，literarylanguage，whichpursuesmultiplemeaningsofanexpression，isdifferentfromscientificlanguageorlanguageindailyuse．Inpracticaluse，itconstantlybreakscommonnormsandevenappliesunusualexpressions，makingthemeaningtransferaccordingtothewriter’Swishesandenlargingtherangeofmeaning．Asaresult，readerswillproducedifferentreflectionsandthusgapscomeintobeing．Forexample，inLiuYuxi’SZhuzhi—Ci(《竹枝词》)，thereisaline“东边日出西边雨，道是无晴却有情”．InChinese，“晴”(aclearandshinyday)hasthesamepronunciationaS“情”(emotions；feelings；sentiments)．Herethepoetapplieshomophonicpun，makingthewordexpressmorethanthemeaning．ThistechniqueisoftenusedinclassicalChinesepoetrywithspecificcharacterexpressingspecificfeeling，suchas“丝(silk)一思(missing)”，“藕(10tusroot)．偶(10ver)”，“莲(10tus)-怜(pity)”．Besidespun，varioustechniquesthatCancausesemanticgapareusedinIReraryworks，suchassimile，metaphor,implication，metonymy,etc．Thosetechniquesstrengthenawork’Slevelofimplicitnessandshowthetransferofaword’Sreference，bringingreaders’imaginationintofullplayandgivingthemanaestheticenjoymentthattranscendstheworkitself24 4．1．1．2SyntacticGapThesecondcategoryissyntacticgap．Aseriesofconventionsandrulesdevelopsintheprocessoflanguageuse．Indailylife，languageuserscommunicatewitheachotherwhileabidingbythoseconventionsandrules．Onthecontrary,literarylanguage，inordertoachieveacertainspecialeffect，alwaysbreakslanguagenormsorthelogicalsequencesingrammarandconceptandappliessomeunusualandevenillogicmodes．Itisthebreakthroughandchangeinthetraditionalpatternsofnormallanguageinaspectslikegrammaticalrules，collocation,etc．，thatgiverisetosyntacticgap．Syntacticgapisoftenconstructedthroughthelackofsentenceconstituentslikethesubject，predicate，object，etc．TakeLiangzhouSong(《凉州词》)byWangHanasanexample．Inthepoem，thereisaline“葡萄美酒夜光杯，欲饮琵琶马上催”．Heretraditionalgrammaticalrulesarebrokenandrelationshipisnotclearlystated．Somepeoplethinkitcanheunderstoodas：thesoldiersaresummonedtofightwhendryingtopipasong．Someholditsmeaningis：thepipaplay抽gonhorsebackurgessoldierstodrink．Othersthinkitmeans：thehorseman’Spipastopssoldiersfromdrinking．AnothertypicalexampleisDuMu’SQingmingFestival(《清明》)．“清明时节雨纷纷，路上行人欲断魂。借问酒家何处有，牧童遥指杏花村。'’Asthenarrator,thepoetclearlymentionstwokindsofcharactersinhisdescription：oneistheshepherdboyandtheotheristhepassersby．Ifthepoetinvolvesintheactivityandbecomesoneofthepassersby,theonewhoasksaboutthelocationofatavernmaybethepoethimselforotherpassersby．However,ifthepoetjustplaystheroleofabystanderwhowriesdownthewordsanddeedsoftheshepherdboyandthepassersby,theonewhoasksthatquestionwillcertainlybeoneofthepassersby．Heretheomissionofthesubjectbringsaboutasyntacticgapandcreatethepossibilityofdifferentunderstandings．Therefore，duetothelakeofsomesentencecomponents，relationshipinthelinebecomesuncertainandthecoherenceinmeaninghastobereconstructedbyreadersthemselves．Anychoiceorunderstandingisacceptableandreasonable．Sometimes，unusualcollocationsandflexibleusageofpartsofspeechmayalso TranslationofClassicalChinesePoetryfi'omthePerspectiveofRcceptionAestheticscreateanunexpectedeffect．WhenreadersappreciateSpringinYulouBuilding(《玉楼春》)bySongQi,theyfrequentlyhighlypraisetheline“红杏枝头春意闹”，becauseinthisline，theunusualcollocationof“红杏”and“闹”producesakindofunfamiliarizationApictureofspringwithvitalityandvividnesswillautomaticallyappearinthemindofreaders．Moreover,changeofsentencepatterns，applicationofpunctuations，reversalofsentencesequence，changeofsentencerhyme，etc．，areallreasonsforsyntacticgap．Whatareconsideredasabsurdmistakesinscientificlanguagebecomeappropriateartisticexpressionsinliterarylanguage．Tocreateaspecialatmospherethroughsyntacticgapisapursuitofliterarylanguage．4．1．1．3StructuralGapThethirdcategoryisstructuralgap．Differentfromscientifictextsinwhichstructureissupposedtobeclearandwell—organized，literarytextsareproducedforaestheticappreciationandtheirstructuresoftenbreakcommonpatternswithashift“fromanaturalnarrativestructuretoanindeterminateonecausedbyomission，skip，interlude，flashback,etc；fromprecisecompositionandorderstoanuncertainstateofconsciousflow；fromsingledimensionalitytomultipledimensionality”．(金元浦，1997：403)Inotherwords，logicalconnectionbetweenandwithinparagraphsisreplacedbystructuralgapsthatneedfillingbyreaders．ThefollowingpoemwrittenbyJiaDaoisanexample．“松下问童子，言师采药去。只在此山中，云深不知处。”Thepoemconsistsofthreeroundsoftalks．Inthefirstround，thepoethopefullyaskstheladwhetherhismasterisathomeornotandtheladanswersthemastergoesouttopickmedicalherbs．Theninthesecondround，thepoet，alittledisappointedbutstillnotreconciled，askswherethemastergoesandtheladanswershegoestothemountains．Inthelastround，thepoetasksthespecificlocationinthemountainandtheladanswersthemasteriSsomewhereinthemountainbuthiswhereaboutsisunknown．Thepoethidesquestionsinanswersbyomittingquestionsandjustkeepinganswers．Thiskindofomissionnotonlymakesthecompositionconciseandcompact，butalsoleavesawidespacefortheimaginationofreaders，whowillconstructthequestion-answerstructurebythemselves．Another26 ChapterFourCrapsandGaps-preservationintheTranslationofClassicalCmnesePoetryexampletypicalofstructuralgapisSeeingoffYuanEronDiplomaticMissiontoAnxi(《送元二使安西》)byWangWei．“渭城朝雨混轻尘，客舍青青柳色新。劝君更进一杯酒，西出阳关无故人。”Thepoetmakesthebestuseofthetechnique—skip，leavingoutsomescenesandquicklytransferringfromonesceneorbehaviortoanother．Inthefrsttwolines，thepoetintroducesthetime，placeandthesurrounding，showingtheSOrrOWofparting．Inthelasttwolines，thepoetissupposedtodescribehowthepartingbanquetisheld，howpeoplebehaveonthebanquet，whattheysaytoeachotheraspartingwordsandhowtheyfeelatthetimeofparting．Instead，heLavesoutallthescenesanddirectlyskipstotheendofthebanquet．“劝君更进一杯酒”containsthebehaviorofurginghisfriendtodrinkand“更”showstheyhavedrunkalotbefore．“西出阳关无故人”istheexpressionofthepoet’Ssincerefeelingand“无故人”showshisunwillingnesstoparthisfriendandhisfriend’Slonelinessinthefuture．Thepreciousfriendshipandthereluctancetosaygoodbyereachaclimax．Therefore，readersneedtofinthegapsbetweendifferentscenesandgraspthewholeinformationwithbrainactivitiesofimaginingandthinking．4．1．1．4ImageGapThefourthcategoryisimagegap．Imageisoneofthemostimportantcharacteristicsinliterarycreation．EspeciallyinclassicalChinesepoetrywhichisconsideredasakindofimagistpoetry,thecreationofimageshasalwaysbeenusedasamaintechnique．Imagesareabstractedfrompeople’Sreallifeandstemfromtheirvariousexperiencesandfeelings．Throughvividfiguresofspeechanddynamicassociation，imagesconducetoamoreappealingliteraryworkandtosomeextentdecidethevalueofawork．Soimagegapcangreatlyarousereaders’aestheticimagination．TheSO-calledimagegapis“whatthepoetdoesn’texplicitlyexpressinthegroupofimageswhilethereaderscanimagineandsensethroughtheirpoeticaccomplishment．”(张孝平，1995)Atfirst，imagegapscanbecausedbythepropertyoffuzzinessofimagesthemselves．Intheline“雨中黄叶树，灯下白头人”，“白头人”isamanorawoman?What’Shisorherappearance?InLiQingzhao’STotheTuneofZuihuayin(《醉花27 TranslationofClassicalChinesePoetryfromthePerspectiveofReceptionAesthetics阴》)，“莫道不销魂，帘卷西风，人比黄花瘦”，thepoetusesacomparisontoexpresshergloomymoodanddeeploneliness．Buthowmuchsorrowdoesshesuffer?Howdoes“西风”blow?Whatkindoffloweris“黄花”?Towhatextentcanthecharacterbedescribedas“瘦”?Whatdoesthewomanlooklikewhensheisthinnerthanaflower?Allthoseimagesarereflecteddifferentlyindifferentreaders’mind．Secondly,imagegapsCanhecausedbythelackofspatialconstructionamongimages．InclassicalChinesepoetry,imagesareparalleledoroverlaidtogether,usuallywithoutlimitationsonspatialconstruction．Forexample，inLiangzhou．％馏(《凉州词》)byWangZhihuan，thereisaline，“黄河远上白云间，一片孤城万仞山”．Thetwoimagesof“孤城”and“山”areparalleledwithoutexplainingtherelationshipbetweenthem．Asaresult，thelinecanbeunderstoodintwoways．Oneis：thelonelytownislostinsoaringpeaks，spontaneouslyarousingamoodofmawkishnessanddreariness．Theotheroneis：thetownstandsaloneamidststeephighmountains，bringingaboutanatmosphereofmagnificenceandmajesty．Inaddition，imagegapsCanalsoexistintheatmosphereimagesconstructorthereactiontheycause．Forexample，intheYuefuballad，勋馏矿theMulberries(《陌上桑》)，“行者见罗敷，下担捋髭须；少年见罗敷，脱帽著悄头。耕者忘其犁，锄者忘其锄；来归相怒怨，但坐观罗敷”，thepoetdoesn’tdirectlytellhowbeautifulLoFuis，butusespassersby’SbehaviorstoreflectLoFu’Sbeauty．ReaderswillactivelyformdifferentpicturesofLoFuintheirminds．InRiverSnow(《江雪》)，“千山鸟飞绝，万径人踪灭。孤舟蓑笠翁，独钓寒江雪”，LiuZongyuandescribessuchapicture：anoldfishermeninasolitaryboatisanglingaloneonacoldsnowingday；thereisnofootprintonthegroundandnobirdflyinginthesky．Understandingofthiswork，whetheritshowsthepoet’Smelancholyandsolitudewhenhewasbanishedorembodieshisloftycharacterandharmoniousmood,dependsontheexplorationandtasteofthereadersthemselves．4．1．1．5ThematicGapThelastcategoryisthematicgap．Duetothefactorsliketherealizationprocessofliterarymeaning，readers’individualdifferences，changingtimes，politicalfactors， etc．，thethemeofaliteraryworkshowsafeatureofmultiplicity．Forreadersindifferentages，evenforreadersatthesameage，thethemeofaworkwillvaryatcertainaspects．Themultiplicityleadstothematicgap．TaketheASongofUnendingSorrow(《长恨歌》)byBaiJuyiasanexample．Somepeoplethinkitisalovepoem，extollingthelovebetweenEmperorXuanzongandhisconcubineYangYuhuan．Somesayitisofanironicnature，criticizingthetwocharacters’dissolutebehaviorsandEmperorXuanzong’sfinalbetrayaloflove．Stillothersbelievethispoemhasnothingtodowithpoliticsandhistory．BaiJuyijustusesthe仃agedyofpredecessorstoexpresshisownsadnessandpainforhelosthisloverbeforetheygotmarried．Also，LiShangyin’sJinse(《锦瑟》)hasbeendiscussedbypoetsthroughagesbecauseofitsfuzzytheme．“锦瑟无端五十弦，一弦一柱思华年。庄生晓梦迷蝴蝶，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，只是当时己惘”ThepoemisLiShangyin’Srepresentativeworkinwhichhedescribescolorfulyetarangescenes．Whatisthepoemaboutandwhatdoesthepoetwanttoexpress?SincetheSongDynasty,scholarshavedifferentpointsofviewsandnounanimousconclusionCanbedrawn．Somethinkthepoetusesthispoemtomournforhisdeceasedwife．Someconsiderthepoemasaprefacetothepoet’Santhology,summarizinghiscreationexperienceandintroducingmethodsofpoetrywriting，poetrystyles，etc．Somebelievethepoemreflectsthepoet’Srecollectionofthepastandeachlinereferstoarealthing．Forexample，⋯沧海月明’referstoLiDeyu’SdeathatYazhouand‘蓝田日暖’signifiesLinghuChu’Seminentstatusasprimeminister．”(李浩，2000：78)Therearesomeotherswhoholdthisisalovepoeminwhichthepoetreflectsonhislovers．Besides，manyclassicalChinesepoemsoftenexpressthepoets’innerfeelingsofSatire，indignation,rejoicingortheiraspirationsandambitionsbymeansofmetaphor,simile，symbolismandexaggeration．Thisisalsoareasonforthematicgapandasksforreaders’furthercontemplation．Meanwhile，thematicgapmayalsobetheproductofthecombinationofgapsinallaspectsorsimplybetheoveralleffectofclearexpressions．Expressionsmaybeclearatthewordlevel，butifcombinedtogether,theymaygetanewandcomplexnature，makingthetextindeterminateonthewhole．29 4．1．2ImportanceofGapsforClassicalChinesePoetryTheexistenceofgapsisbynomeansaphenomenonoflittleimportance．“Itisdeterminedbytheobjectiverealityofdiverseinterpretationandtheasymmetricalcommunicationbetweenatextanditsreaders．ItiSahistoricalachievementintheprocessfi'omdailylanguagetoartisticlanguageaswellasafundamentalcharacteristicofartisticlanguage．”(金元浦，1997：355)Gapsconstitutethepotentialartisticworldthatistoberealizedanddeeplyreflecttheinherentlawofthewholeprocessofaestheticactivitiesfromliterarycreationtoreception．Firstly,gapsmakepossiblethediversityofinterpretation．Formanyyears，thereisinliteraryhistoryafactthatCannotbedenied—anygreatliteraryworkwillbeinterpretedindifferentwaysintheprocessofreading．Gadameronesaid，“Differencesexistinpeople’Sunderstandinginonewayoranother．”(朱光潜，1980：132—133)Thenwhatisthereasonforthediversityofinterpretation?Basicallyspeaking，thediversityofinterpretationresultsfromtheopennessofatext．Ifthetextisacompletelyclosedstructure，therewillbeoneandonlyonecorrectinterpretationofit．Forexample，whenpeoplestudyamathematictheoremorreadascientificpaper,theywillcometothesameconclusion．Nodiversitywillappearinspiteofthechangeoftimes．Forliteraryworks，thesituationistheotherwayaround．Thesignificanceofaworkisnotconstant，butisafuzzyclusterwithmanyvariablesandparameters．Synchronically,thatclusterconsistsofthedifferentinterpretationsofreadersinthesameperiod．Diachronically,italsoincludesthenumerousinterpretationsofreadersindifferentperiods；eventhesamereadersmayhavenewreactionswhentheyreadthesameworkagain．Thereforetheopennessofatextisanecessaryconditionforthediversityofinterpretation．Then，howcantheopennessactivateareader’Saestheticexperienceandaestheticemotiontogeneratedifferentinterpretations?AccordingtoIser,therepresentativeofReceptionAesthetics，thegapsinaworkformthebasisofitsopenness．Hethinks，“Thegapsofaworkpromotereaderstoexplorethework’Ssignificanceandthusgivethemtherighttoparticipateintheformationofthework’Ssignificance．”(瓦尔宁，1975：236)Itisthegapsthat serveasabridgetoconnecttheconsciousnessofcreationandtheconsciousnessofreception．Itisthroughthegapsthatatextformsanopenstructure，whichiscalled“appealingstructure”byIser,tomakevariousinterpretationspossible．Readersareappealedtofillinthegapswithdefmitemeaningsaccordingtotheirownexpectationhorizon，thusrealizingtheconcretizationoractualizationofthetext．Thiscanalsobeseenasaprocessinwhichreaderstalktotheauthorandnegotiatewiththetext。Secondly,gapsmeettherequirementoftheasymmetricalcommunicationbetweenatextanditsreaders．Toalargeextent，literarycreationisnotforself-entertainment，butmainlyforreaders．Writerstrytocommunicatewithreaderswithtextsasthemedium．Thedirectcommunicationbetweenwritersandreadersintheeraoftroubadoursisreplacedbythecommunicationbetweentextsandreaders．Theforrneroneisakindofface．tO．facecommunicationinwhichcommunicatorsCantalktoeachotherandreachamutualunderstandingthroughcontinualadjustment．Differentfromtheformer,thelatterisakindofasymmetricalcommunicationinwhichreaderscan’texaminewhetherthekunderstandingandinterpretationofthetextisrightornot．Intheprocessofreading，textsthemselvescan’trespondtoreadersoranswertheirquestions．Therefore，thisasymmetricalcommunicationdecidestheopennessofatext．Textsmustarousereaders’aestheticcreationandmotivatereaderstoparticipateinthereadingprocess．JustasSartreoncesaid，“Allliteraryworksareakindofappeal．Writingistomakeanappealtothereaderandaskhimtoactualizewhat1writeinlanguage．’’Writershavetodesigngapsintheirworkstoappealforreaders’cooperationandthusrealizethecommunicationbetweenthetextanditsreaders．Thirdly,gapsmakereadinganinterestingactivityandgivereadersaspecialaestheticenjoyment．Literaryreadingisnotaone·wayprocessinwhichthewriterinculcatesideasintothereaders’mind，butatwo—wayprocessinwhichthewritercreatesandthereadersrespond．ItCanbesaidthatgapsarewhatthewriterleavesforthereaderstoexplorebythemselves，mobilizingtheinteractionbetweenthewriterandthereaders．Readersnotonlytrytomasterthewriter’Sintention，butalsore-createthetextwithuniqueunderstandings．Theiraestheticinitiativeisaroused．As aresult，boththemeaningandtheconnotationoftheworkareenlarged．FromthecategorizationofgapsinclassicalChinesepoetryandexamplesenumeratedinthelastsection，itiseasytofmdthat，broadlyspeaking，semanticgap，syntacticgapandstructuralgapbelongtothelinguisticlevelwhileimagegapandthematicgapbelongtothepsychologicallevel．Throughthegapsonthelinguisticlevel，readers’aestheticexperienceisaroused．Thentheyenterintoanaestheticstateandconstructthemeaningoftheworkonthepsychologicallevel．Therefore，gapsonthelinguisticlevelcarrytheonesonthepsychologicallevel．Theypresenttwolayersofvaluesofliterarywork：oneistheartisticvalueandtheotheristheaestheticvalue．Theyarenotisolatedandindependent，butinterwovenwitheachother．Ontheonehand；theexistenceofgasisinaccordancewiththecreationprincipleofclassicalChineseliteraturetobringoutthethemefi'om‘‘nothingness”andformthefuzzybeauty,obscureandimplicit，realizingtheartisticvalueofwork．Ontheotherhand，gapsformanappealingstructuretocreateconditionforthediversityofinterpretationandactivatereaders’aestheticinitiative．Literaryworksarecharacterizedbygapswhichconnectthecreationconsciousnessandthereceptionconsciousnes、s．Poetryisnotanexception．Fromthefivecategoriesofgapsandtheexamplesdiscussedinthelastsection，wecanfmdgapsgivereadersaninterpretationopportunityandpermitthemtoapproachtotheworkfi'omdifferentanglesandwithdifferentfeelings，thusrealizingtheaestheticvalueofawork．ThereforethosegapscontributelottotheSuccessandpopularityofclassicalChinesepoetry,whichstandsforhighachievementinartisticcreationandfi'eedominaestheticappreciation．TheyareanindispensablepartofclassicalChinesepoetryandtheirimportancecan’tbeignored．4．2Gaps-preservationintheTranslationofClassicalChinesePoetrySincetheexistenceofgapsinclassicalChinesepoetryisofsuchimportance，itstimulatespeopletothinkovertheissueofpoetrytranslationfi'omnewperspective．Theprocessingofthegapsinpoemisvitalinitstranslation．Foronething，poetry32 ChapterFourCapsandGaps-preservationintheTranslationofClassicalChinesePoetrytranslationisnotakindofliteraltranslation．Atranslatorshouldnotlimithisattentiononlytothewordsortheliterarymeaning，butalsoneedstotakeintoconsiderationthegapsofthework．What’smore，hecan’tconcentrateonasinglekindofgap，butshouldharmoniouslyreproduceinhistranslationthemultiplegapsoftheoriginalwork．Otherwise，theTLreadersmaynotgetthesameopportunitytogiveplaytotheirimaginationastheSLreadersdo．Foranother,poetrytranslationisalsonotakindofliterarycreation．Thetranslatorshouldconsidertheexpectationhorizonofthepoetandthereadersandthusunlimitedadaptationorrandomrewritingofthegapsmustbeavoided．Therefore，preservinggapsinthetranslationbecomesasuitableandreasonablechoice．4．2．1WhatisGaps—preservation“Gaps—preservation'’originallyisatechniqueusedinChineselandscapepainting．Westernpaintingemphasizestheapplicationofcolorsandtheobjectspaintedareconcrete．Differently,Chineselandscapepaintersgenerallyattachgreaterimportancetothecreationofartisticconception，keep吨gapsintheircompositionandproducinganatmosphereofserenity,leisure，clearness，blanknessandremoteness．Throughgaps，thepaintersexpressmorethanwhathasbeenpresentedinthepaintingandaspecialkindofbeautycomesintobeing．‘‘ItissaidthatEmperorHuizongintheSongDynastyoncesetatheme‘深山藏古寺(atemplehidinginthemountain)’totesttheexaminees．Someonepaintedapicturewithatempleonthemountainside．Anotheronepaintedatemplehiddenamongtrees．EmperorHuizongdissatisfiedwiththoseworksbutfinallyhefoundonewhichwasquiteamazing．Inthepainting，therewasapathstretchingfromamountaintoariverandalittlemonkwhowasfetchingwaterat．theriverbank．”(周方珠，2006)Therewasnotempleinthepaintingbutthepaintersuccessfullyconvincedothersoftheexistenceofatemplenearby．Hearousedtheappreciators’imaginationandskillfullypresentedthethemeof“藏”withthetechniqueofgaps-preservation，whichreflectsChinesepainters’artisticpotentialthatsurpassesspatiallimitation．Actually,thisspecialartistictechniqueisbasedonancientChinesephilosophywhichholdsthatnothingnessisthefundamentalrootofthewhole33 TranslationofClassicalChinesePoeryfromthePerspectiveofReceptionAestheticsworld．Besides，Buddhismalsoemphasizestranquilityandencouragespeopletogetridofworldlyaffairs．Thiskindofphilosophicalatmospheremakestheeffectsofgapsreachahighlevelincomparableinwesternarts．AllformsofChineseartareinterrelatedinsomeaspects．Gaps—preservationhasalsobeenappliedinotherkindsofart．Formusiccreation，itisheldthatsometimessilenceismoreexpressivethansounds．LaoZi，arenownedphilosopherintheSpringandAutumnPeriod，eventhinksexcellentmusicworkshavenomelody(大音希声)．Forcalligraphy,agoodcalligrapherneedstounderstandtheprincipleof“计白当黑”．Itmeansthestrokesofacharacterarenottheonlyaspectthatdeservesacalligrapher’Sattention．Healsoneedstowellorganizethespaceamongstrokesaswellasthespaceamongcharacters．Inthisthesis，thetechniqueofgaps-preservationwillbeappliedtothestudyofthetranslationofclassicalChinesepoetrywhichinkselfcontainsgaps．Thisprocessingofgapsshowsakindoffaithfulnesstotheoriginalworksatadeeperlevel．4．2．2Gaps—preservationfortheMaintenanceofPoetry’SValueTheexistenceofgapsexplainswhyliterarytranslationisdifferentfromnon—literarytranslation：becauseinliterarytranslation，theobjecttobetranslatedismoreanartisticentitywithprofoundmeaningcausedbygapsthanatextmerelypiledupbylinguisticcodes．Itisnecessarytoke印thepeculiarityofpoetryinitstranslationtomakeitstillaliteraryworkworthofappreciating．Ifthetranslatormakestheimplicitdirectlystatedandconcretizesallthegapswithhisownunderstanding，itiscertainthatapoem’Sartisticvalueandaestheticvaluewhichreflectthedistinctivestyleorelaboratedesignofthepoetwilllose．Especiallyfortranslationwhichisacross-cultureactivity,thepresentationoftheartisticvalueandaestheticvalueoftheoriginalworkalsomeansthespreadofalargeamountofculture-loadedinformation．ThisisthechanceforforeignreaderstoknowmoreaboutChina’SpoetrycultureandsensethefuzzybeautyofclassicalChinesepoetry．TheiroriginalexpectationhorizonwillbecontinuallymodifiedinthereadingprocessbythesourcelanguageandtheirunderstandingofChina’Spoeticartwillbeenhanced． ChapterFourCapsandCraps·preservationintheTranslationofClassicalChinesePoetryTherefore，inordertoletforeignreadersappreciatetheoriginalfeaturesofclassicalChinesepoetry,experienceitscharmandrealizethepersonalizedaestheticenjoyment，itisamusttokeepthegapsinthetranslationandmakeafuzzificationprocessingofthetexttowellreproducetheartisticvalueandtheaestheticvalueoftheoriginalwork．4．2．2．1Gaps-preservationtoMaintaintheArtisticValueofSLTGapsplayanimportantrolefortheformationoftheartisticvalueofclassicalChinesepoetry．Intermsofcontent，gapshelplimitedwordstoexpressrichinformation．Intermsofstyle，gapscontributetoauniqueandconciseeffectofexpression．Intermsofartisticconception，gapsstrengthenthebeautyofconnotationandaffordforthought．Ifthetranslatormakesthevacanttangibleandtheindeterminateconcrete，itiscertainthatthedistinctivestyleandelaboratedesignoftheoriginalpoetwillbedestroyed．Besides，gaps—preservationisbynomeansakindofdirectpreservation．WhetherthegapscanbeprocessedproperlyornotwillaffecttheartisticvalueofSLT．Herethefollowingcanbetakenasanegativeexample．秋浦歌(十五)白发三于丈，缘愁似个长。不知明镜里，何处得秋霜。TLT：(TranslatedbyRenZhijiandYuZheng)Whitehairthreethousandyards，Forworriesareseeminglyaslong?Whoknowsinthemirrorbright，f场encetheautumnfrostcomes?Inthispoem,thepoetusesthetechniqueofexaggerationtodescribehissorrow．Thefigure“三千”heredoesn’trefertoaconcreteconcept，butisusedtoexpressthepoet’SendlessSOrrOW．Itstandsforakindoffuzzybeauty,whichshowsthepoet’Sskillfuldesignandaddstheartisticvalueofthework．WhendirectlytranslatedintoEnglish，however,theoriginallyartisticdesignappearstobesomewhatmediocreandisdifficultforforeignreaderstounderstand．Thisisbecausethetranslatorsdon’twell35 TranslationofClassicalChinesePoery丘锄thePerspectiveofReceptionAestheticsprocessthefuzzinessof“三千”andthegapscausedbyitareconcretizedby‘'threethousandyards”．Directpreservationisnotagoodchoicehere．Thisimproperprocessingofgapcertainlylowerstheartisticvalueofthework．4．2．2．2Gaps-preservationtoMaintaintheAestheticValueofSLTGaps，whichformtheappealingstructureofawork,giveincentivetoaestheticactivitiesinwhichreaders’activeparticipationandthemobilizationoftheirimaginationarerequired．Theystimulatereaderstopursuethesignificanceofliteraryworksandtorelatewhattheyreadwiththeirownhorizonexpectations．Thereforegaps-preservationisofgreatimportanceforthereconstructionofapoem’Saestheticvalueinitstranslation．ThefollowingpartwilltakeMaZhiyuan’STotheTuneofTianjinsha(《天净沙》)asanexampletoseetheimportanceofgaps-preservationforthemaintenanceofapoem’Saestheticvalue．HerearetwoversionsproducedrespectivelybyWenXianliangandZhouFangzhu．天净沙·秋思马致远枯藤老树昏鸦，小桥流水人家，古道西风瘦马。夕阳西下，断肠人在天涯。TLT1：(TranslatedbyWenXianliang)AutumnCrowshoveringoverruggedoldtreeswreathedwithrottenvine—thedayisaboutdone．Yonderisatinybridgeoverasparkingstream,andonthefarbank，aprettylittlevillage．Butthetravelerhadtogoondownthisancientroad，thewestwindmoaning，hisbonyhorsegroaning，trudgingtowardsthesinkingsun，fartherandfartherawayfromhome．TLT2：(TranslatedbyZhouFangzhu)：AutumnThought36 ChapterFourCapsandCaps．preservationintheTranslationofClassicalChirlesePoetryTotheTuneofSky-clearSandWitheredvine，oldtree，aravenatduskcrows，Tinybridge，thatchedcottages，thestreamflows，Ancientroad，bleakwind，abonysteedslows．Thesettingsuninthewestglows，Thesorrowoftheheart—brokentravelergrowsIntheoriginalwork．thepoetdescribesableakpicturewithonlytwenty·eightcharactersandreflectstheprotagonist’Slonelinessbythedesolatecircumstance．Hedoesn’tdescribetheprotagonistorthecircumstanceindetailbutconstructthetextwithimages．Especiallyinthefn-stthreelines，thepoetpresentsnineimages(“枯藤”，“老树”，“昏鸦”，“小桥”，“流水”，“人家”，“古道”，“西风”，“瘦马”)withoutintroducingtherelationshipamongthemorclearlytellingthequalityofthoseimages．Thusthegapsmakevariousimaginationspossible．Forexample，the“枯藤”mayhesingleinnumber，stretchingfromthetopofthetreetotheground，butitmayalsobepluralinnumber，twiningaroundthetreeortrees；the“昏鸦”mayhestandinginthetree，crowingalone，buttheremayalsobeagroupofravens，hoveringoverthetreeandcrowinginthesky；“断肠人”maybesadforhomesickness，lovesickness，orpityforthepassingday,ere．Allthesepossibilitiesareleftforreaderstoexplorebymobilizingtheirrespectiveexpectationhorizonandincreasethedelightintheprocessofreadingandappreciation．Fromthetwoversionsoftranslationabove，wecanfmdthetwotranslatorsapplydifferentprocessingmethodstowardthepoem．Mr．WenXianlingtranslatestheoriginalworkintoaprosebyconcretizingthefuzzinessinvolvedinthegaps．Nounsarecombinedwithadjectiveswhichmaketheimagesconcrete．Cohesivedevices，suchas“hovering”，‘'wreathedwith”，“on'’，‘‘moaning”，“groaning'’，areusedtoindicatetheexactcorrelationsamongtheimages．Witheverythingclearlystated，theaestheticvalueoftheoriginalworkisdamagedandTLreaderswillnotappreciatetheuniqueformandtheconciseexpressionsofChinesepoetry．Besides，theappealingstructureoftheoriginalworkisabandonedwiththedecreaseordisappearanceofgaps．37 Heevenomitstheimportantimageof“断肠人”．theonlyreferencetotheprotagonist．Readershavenodifficultyincomprehendingthetranslation,buttheiraestheticabilityisunderestimatedandnospaceisprovidedfortheirimagination．Asaresult，theaestheticvalueoftheoriginalworkisalsodestroyed．Comparativelyspeaking，Mr．ZhouFangzhu’Sversionisbetter．ThetranslatorgivesupthesyntacticfeaturesofTLandproducesatranslationwiththesamewordorderastheoriginal．Actually,thoseimagesdon’tcontaintoomuchculturalconnotationandarenotbeyondthecomprehensionofTLreaders．Sotheyarefaithfullyreproducedwkhoutanyadditionoromission．Theappealingstructureiswellreconstructedinthetranslation，whichreflectsthetranslator’SconsiderationofTLreaders’aestheticinitiativeandhisfaithi11TLreaders’abilitytodiscovertheconnectionamongtheorganiccomponentswhenrelativeconjunctions，prepositions，etc．areabsent．Besides，therhythmoftheoriginalispresentedinthepatternof／ouz／，whichletTLreadershavethechancetofeelthesoundbeautyasSLreadersdo．Thustheaestheticvalueoftheoriginalworkiswellpreservedinthe见fTherefore，whentranslatingclassicalChinesepoetry,“ifwewantreaderstofmdtheaestheticobjectisapoemora台eehandbrushworkwithprofoundmeaning，notaposter,weneedtogivethemthespaceforappreciationandroomforimagination，namely,toprovidethemwiththeplatformtodistinguishfreehandbrushworkfromposter．”(黄宪芳，2004)Atranslatorshouldbeawareofthedualityofhisstatus．Hecan’tcompresstheSLTwithhisowninterpretationandthusaffectorreplaceTLreaders’aestheticreconstruction．Inotherwords，translationworksshouldalsobefullofgapsandtheinterpretationofthosegapsistobefilledbyreadersthemselves．‘‘TranslatorsCan’texceedtheirdutiesandcompletethetasksofreaders．Readerssometimesmaymisinterprettheimplicationofawork,butthatistheirownbehaviorandhasnothingtodowiththeintentionoftheoriginalwork．”(周方珠，2012)InordertobringtheartisticvalueandaestheticvalueofSLTtoTLT,translationshouldhaveafeatureofopennessandusetheappealingstructuretoattractreaderstoparticipate，tointerpretandtOproducearesonance．38 ChapterFourCrapsandCaps-preservationintheTranslationofClassicalCllin嚣ePoetry4．2．3HowtoPreserveGapsinPoetryTranslationFromthediscussionabove，wecanseethenecessityofgaps—preservationinthetranslationofclassicalChinesepoetry．Whatdeservesourattentionisthatgaps-preservationatmosttimescannotberealizedbyanindiscriminatecopyofgapsfromSLTto亿fThetranslatorhastoconsidertheexpectationhorizonofTLreadersandtheirunderstandinglevel．Whennecessary,heneedstoadjusttheoriginalgapstosomeextentinordertocreateaproperaestheticdistanceinhistranslationandavoidTLreaders’unintelligibility．Then，howtoutilizethetechniqueofgaps—preservationinthetranslationofclassicalChinesepoetry?4．2．3．1DirectPreservationDirectpreservationistokeepthegapsoftheoriginalworkdirectlyinitstranslationwithoutanychange，whichcanachieveamaximumfaithfulnesstotheoriginalworkandmakesurethatTLreaderswillgetthesamespaceforimaginationasSLreaders．ThetranslatorswhoadoptthismethodhaveconfidenceinTLreaders’abilitytoperceiveandtocomprehendthegapsoftheoriginalworkbecauseofthecommonphysiologicalbasis，emotionsandexperiencessharedbyhumanbeings．Therefore，directpreservationcanbringTLreaderstoappreciatetheexoticstylereflectedbyChinesepoetryandmakethemimmersedinChineseaestheticprinciples，promotingthecommunicationbetweenChinesecultureandforeigncultures．Inpractice，however,thismethodcan’tbeusedindiscriminately．Itismoresuitableforsimplegapswhichdonotcontaintoomuchculture—loadedinformation．Thetranslatorneedstomakesurethatthepreservationofsuchgapswillnotexcessivelyincreasethedifficultyincbmprehension．MaZhiyuan’STotheTuneofTianjinsha(《天净沙》)mentionedaboveisagoodexample．Mr．ZhouFangzhuadoptsthemethodofdirectpreservationbykeepingthework’Soriginalorderandform．Hisversionnotonlysuccessfullyreproducesthefuzzybeauty,butalsogivesfullplaytoTLreaders’imaginationandwellactivatestheirexpectationhorizon，realizingadoublefaithfulnesstotheoriginalworkaswellastotheTLreaders．Inthepoem,／nResponsetoJinlingCounty'sMagistrateLu's39 PoemOnaWalkinEarlySpring(《和晋陵陆丞早春游望》)byDuShenyan，apoetintheearlyTangDynasty,thereisaline，“云霞出海曙，梅柳渡江春”．ThefollowingaretranslationsofitrespectivelyproducedbyYeWeilianandZengBeici．TLT1：(TranslatedbyYeWeilian)：Cloudsandmists，Outtosea,Dawn．Plumsandwillows，Acrosstheriver,Spring．TLT2：(TranslatedbyZengBeici)：Iseedaybreakflushingcloudsandtheseareflectingthemorningglow,HerecomesspringcrossingtheYangtzebringingblossomstoplumandwillowtrees．Thepoetdoesn’tdepictwhatthespringlookslikeatlength，butchooses“云霞”andthechangesof“梅”and“柳”whicharemostsensitivetothecomingofspringtoreflectthebeautifulandvigorousspring．Theoriginalstructureisveryspecialwiththetwocharacters“出”and“渡”skillfullyusedtopresentthedynamicstateofthescenery．Comparingthetwotranslationversionsabove，readerswillfmdthatthefn'stversionisclosertotheoriginalworkintermsoftheartisticconceptionconstructedandtheimaginationspaceleft．“Catfordoncesaidasforlimitsonthetranslatabilityoflanguageandculture，anirregularcollocationintranslationisagoodchoicewhenthecorrespondingoneintheSLTisirregularitself．”(包振南，1983：74)ThefwstversionbreaksthewritingpatternofEnglishpoetryandadoptsdirectpreservationbyomittingsyntacticelement．ItleavesenoughspaceforTLreaders"tosensetheimagebeautyoftheoriginalworkandthisprocessingistotallywithinTLreaders’comprehensionscope．Thesecondversion，althoughinaccordancewiththesyntacticrulesofEnglish，describeseverythingclearlyandeventheimage“海”isdefmedastheYangtzeRiver．ItsacrificestheartisticandaestheticbeautyoftheoriginalworkandneglectsTLreaders’aestheticneed． ChapterFourCapsandGaps-preservationintheTranslationofClassicalCllinesePoeny4．2．3．2Reconstructionistoproducegapsinthetranslationwithformsorexpressionswhicharedifferentfromthoseintheoriginal，butstillcankeeptheoriginalfuzzybeautyandrealizeanequivalenteffectinTLreaders．Itisapresentationthesubjectivityofatranslatorwhoproperlyendowsthetranslationwithhisownaestheticexperienceandsucceedsinrealizingtheoriginalwork’Sbeauty．Thefollowingmayserveasanexample．江雪柳宗元千山鸟飞绝，万径人踪灭。孤舟蓑笠翁，独钓寒江雪。TLT：(TranslatedbyXuYuanchong)：Fromhillstohillsnobirdinflight；Frompathstopathsnomaninsight．Alonelyfishermanafloat；Isfishingnowinlonelyboat．Numbersinsciencestandforaccuracyincalculation．However,inliteraryworks，especiallyinpoetry,theyoftendonotrefertoaprecisequantRyandareusedasafigureofspeechtocreateaspecialimageoratmosphere．JustasinLiuZongyuan’SRiverSnow(《江雪》)，“万”and“千”donotreallymeantherearethousandsofmountainsandroads．Theyhighlightthesilenceand．．spaciousnessofthecircumstance．ThiskindofexaggerationisacommontechniqueinclassicalChinesepoetry．Thetranslatorgivesupthenumbersintheoriginalworkandusespluralnounstoexpresstheconceptofquantity．Andtheparallelpattemof“from⋯to⋯’’formsasymmetricalbeautybothinstructureandsound．Akhoughthetranslationseemsunfaithfultotheoriginal，itreproducesartisticbeautyandaestheticbeautybyreconstructinggaps，whichcanbetreatedasakindoffaithfulnessatthedeeplayer． LiQingzhao’STotheTuneofShengshengman(《声声慢》)isanotherexample．Theline，“寻寻觅觅，冷冷清清，凄凄惨惨凄凄”，iscreatedwiththeduplicationtechniquewhichwellemphasizesthelonelyfeelingtheheroineexperiencedandconstructsanextremelydrearyatmosphere．Let’Sseethetwotranslationsofit．TLTl：(TranslatedbyKennethRexroth)：Search，search；Seek，seek；Cold，cold；Clear,clear；Sorrow,SOrrOW；Pain，pain．TLT2：(TranslatedbyXuYuanchong)：IlookforwhatImiss；IknownotwhatitiS．IfeelSOsad，SOdreary,Solonely,withoutcheer．Thefirstversiontotallykeepstheformoftheoriginalwork，butthedirectpreservationusedherewillaffectTLreaders’understandinginmeaning．Duplicationisusedtostrengthentheheroine’Sdespondentmood，buttherepetitionof“search’’and“seek”atthebeginningofthetranslationseemsqukeabrupt．Theyaremorelikeimperativesentences，askingTLreaderstofindsomethingunknown．Misunderstandingthusforms．Besides，“cold'’and“clear’’areimproperbecausetheyCan’tproducethelonelinessanddesolationcontainedin“冷清”．HeretheabsolutefaithfulnesstotheoriginalworkfailstoarouseTLreaders’aestheticinitiative．Mr．XuYuanchong，akhoughbreakingtheoriginalwork’Sformofduplication，takesTLreadersintoconsiderationandcreatesaversionmoreacceptabletoTLreaders，stillleavingenoughroomfortheirimagination．4．2．3．3ProperAdjustmentProperadjustmentistoadjustthescopeofgapsinoneormorepartsofthe42 ChapterFourCrapsandCaps·preservationintheTranslationofClassicalChinesePoetryoriginalwork．ItpaysattentiontoTLreaders’understandinglevelandconsidershowtorealizehorizonfusionbetweenthetranslationanditsreaders．IfTLreaders’expectationhorizonislargerthanthatofthetranslation，thetranslationwillappeartobeshallowandboringandreaderswilllosetheirinterestinreading．IfTLreaders’expectationhorizonissmallerthanthatofthetranslation，thetranslationwillcontaininformationexceedingTLreaders’capacityandaestheticdistancewillbeincreased，whichmayleadtothefailureofreading．ProperadjustmentCanberealizedintwoways．Oneisenlargementandtheotherisnarrowingdown．4．2．3．3．1Enlargementistoenlargethegapsintheoriginalworktosomeextent．Especiallywhendealingwithgapscausedbyculture-loadedwords，translatorsCanenlargethereferenceofanexpressionandreduceculture-loadedinformation，whichwillconducetoTLreaders’comprehension．Forexample，inBaiJuyi’SASongQfUnendingSorrow(《长恨歌》)，thereisaline“汉皇重色思倾国，御宇多年求不得。”．TLT1：(TranslatedbyW．J．BainbridgeFletcher)：ThelordofHanlovedbeauty,Inlove’Sdesirehepined．Formanyyearswithinhispalace，Such10vehecouldnotfmd．TLT2：(TranslatedbyXuYuanchong)：Thebeauty—lovingmonarchlongedyearafteryear,Tofmdabeautifulladywithoutapeer．PoetsintheTangDynastywereaccustomedtouse“汉”(theHanDynasty)toreferto“唐”．AmongthedynastiesbeforetheTangDynasty,theHanDynastywasthemostpowerfulonewiththelargestterritory．IntheTangDynasty,thecountrydevelopedbetterwithprosperouseconomy,splendidculture，andalagerterritorythanbefore．SotheTangDynastysharedmanysimilaritiestotheHanDynasty．“汉皇”，asacommonword，doesn’trefertoaspecificfigureandcontainssemanticgap．ThisgapwillbefilledinthereadingprocessbyreaderswhoknowthehistoryofEmperorXuanzongintheTangDynasty．Itiseasyforthemtofmdtheconnotationoftheword43 TranslationofClassicalCllin髂ePoetryfromthePerspectiveofReceptionAestheticsanditsreference．Butforforeignreaders，thesituationisdifferent．“ThelordofHart'’mTLTlmaymakethemwronglythinkthepoemisrelatedtOanemperorintheHanDynasty．InTU、2，“汉皇”isrenderedas“beauty-lovingmonarch'’whichhasthefeatureofgeneralreferenceandthescopeoftheimageisenlarged．Itnotonlyclearlypresentsthedeepcharacteroftheperson，butalsoactivatesTLreaders’curiosityaboutthefollowingstory．TLreaderswillconstructtheimageofthemonarchaccordingtotheirimagination．4．2．3．3．2NarrowingDownNarrowingdownistheotherwaytoadjustthegapsintheoriginalwork,Itlowersthepossibilitythataestheticdistancewillbelengthenedduetothechangeofculturalcontext．Justasthemethodofenlargement，itisusedtoconstructaproperaestheticdistancebetweenTLreadersandthetranslationandtorealizethework’Svaluewithreaders’participation．TakeLiShangyin’S,lime(《锦瑟》)asanexample，锦瑟锦瑟无端五十弦，一弦一柱思华年。庄生晓梦迷蝴蝶，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，只是当时己惘然。TLT：(TranslatedbyXuYuanchong)：TheSadZitherWhyshouldthesadzitherhavefiftystrings?Eachstring，eachstrainevokesbutvanishedsprings：Dimmorningdreamtobeabutterfly；Amorousheartpouredoutincuckoo’Scry．Inmoonlitpearlsseetearsinmermaid’Seyes；Withsunburnedmirthletbluejadevaporize．Suchfeelingcannotberecalledagain；Itseemedlongloste’enwhenitWasfeltthen．Justasdiscussedabove，thethemeofthepoemisuncertain．YuanHaowen，a poetintheJinDynasty,oncewrote“诗家总爱西昆好，独恨无人做郑笺”toreflectthatscholarsofgenerationscan’treachanagreementontheimpliedmeaningofthepoemfortheyunderstandit台omdifferentperspectives．“Ifthegapsinthepoemaredirectlykeptinitstranslation，theaestheticdistancethattheoriginalworkleavesforitsreaderswillbeincreasedduetothechangeofculturalcontext．"(周方珠，2012)Therefore，Mr．XuYuanchongaddsa‘‘sad'’inthetitle，whichnarrowsdownthescopeoftheoriginalgapandestablishesthekeynoteofthepoem．ItdirectsTLreadersintheprocessofreadingandpreventsthearbitraryexpansionofaestheticdistanceinthetranslation．LiBai’SQingpingdiao(《清平调》)canalsoserveasanexample．ItiscomposedofthreepoemsinwhichthedescribeswithcomplimentsthebeautyofYangYuhuan，concubineofEmperorXuanzongintheTangDynasty．Especiallyinthesecondpoem,theevenintroducesmythologicalandhistoricalfigurestopraiseConcubineYang，suchas“一枝红艳露凝香，云雨巫山枉断肠”．“云雨巫山”isfromanancientallusioninwhichtherewasacharminggoddesswhohadanaffairwithKingXiangoftheKingdomChu．Whentranslatingthisline，thetranslatorneedstonoticetheimpliedmeaningoftheallusionandcan’trenderitdirectlyas“cloudsandrainsoverMountWu”．TLT：(TranslatedbyXuYuanchong)：Sheisponysweetenedbydewimpearled，FarfairerthantheGoddessbringingshowersindreams．Mr．XuYuanchongtranslates“云雨巫山”as‘'theGoddessbring访gshowersindreams”．Henarrowsdowntheoriginalgapandextractsthepartthatismostrelatedtothethemeofthepoem,makingthetranslationeasyforTLreaderstounderstandandleavingreasonablespacefortheirimagination．4．2．3．4AnnotationAnnotmionisawayoRenusedintranslationandcanhelpTLreaderstoknowmoreaboutanothercountry’Slanguage，culture，history,customs，etc．ThepurposeoftranslationisnotonlytobringaestheticenjoymenttoTLreaders，butalsotorealize45 thecommunicationandexchangesbetweentwodifferentcultures．TheexpectationhorizonofTLreadersisnotinvariable，butconstantlychanged，updatedandenlargedthroughread崦．Withexpansionoftheiroriginalexpectationhorizon，theywillgraduallyappreciateessenceandsubtletiesofanothercountry’Sliterature．Thisgradualexpansionofhorizonandincreaseofknowledgefi'omreadingcanalsobeconsideredasakindofaestheticenjoyment．Therefore，whendealingwithgapsinclassicalChinesepoetry,translatorscanuseannotationasasupplementarymeansfordirectpreservation，reconstructionandproperadjustmentmentionedabove．Forexample，whentranslating“云雨巫山”，wecanaddanannotationtOitandmakeTLreadersunderstandpoemandexpressionbetter．ThefollowinglineiswrittenbyMaoZedonginReplytoLiShuyi(《蝶恋花·答李淑一》)，我失骄杨君失柳，轻飚直上重霄九。TLT：(TranslatedbyGuZhengkun)：YoulostyourdarlingWillowandImyPoplarproud，BothPoplarandWillowsoargracefullyfarabovecloud．Translator’Snotes：YourdarlingWillow：LiShuyi’Shusband，LiuZhi．xun．InChinese，willowispronouncedas[1iu]，thesameaspronunciationoffamilynameLiu．Thesubtletyhereisthatwillow(Liu)canalsosuggestwillowcatkinjustasPoplar(Yang)cansuggestpoplarflowers；andweknowwordpoplar(Yang)indicatesfamilynameofMao’Swife，YangKai—hui．PoplarandYanginChinesealesamebothinsoundandmeaning．Thuswefeelnodifficultytounderstandsecondline“BothPoplarand、聃llowSOargracefullyfarabovecloud’’：itsuggestssoulsofYangKai-huiandLiuZhi-xunflyabovecloudtomoonlikewaRingwillowcatkinsandpoplarflowers．Thepoetuses‘'willow'’and‘'poplar’’torefertomartyrswhosesoulsareaspureaswillowcatkinandpoplarblossomandexpresseshismissingandeulogytowardsthem．Thelineisskillfullydesignedwithassociationbroughtby 壁业!!竺鱼翌型塑!竺竺苎!竺垫生!旦竺!丝竺2塑竺!!型竺坚旦嬖!!竺堕pronunciationof‘'willow'’and‘'poplar'’inChinese，whichshowsthepoet’Sartistictalentinpoetrycreation．Herelkeraltranslationwithoutexplanationisnotappropriatebecausethoseingeniousgapscan’tbefilledbyTLreaderswhodon’tknowChineseandChinesehistory．ItoverestimatestheimaginationabilityandlkeracylevelofTLreaders．ThustheannotationaddedafterthetranslationbyMr．GuZhengkunisnecessary．Althoughnotconciseenough，itenlargesTLreaders’expectationhorizon，spreadsChineseculturetoforeignreadersandmakesiteasyforthemtofillthegapsintheoriginalwork．4．2．3．5SummaryFromtheanalysisabove，itcanbefoundthatgaps—preservationispossibleinthetranslationofclassicalChinesepoetry．TheexistenceofgapsisafeatureofclassicalChinesepoetry,reflectingakindoffuzzybeauty．Thusintranslation，thisfeatureshouldbepreservedtoachievetheartisticvalueandaestheticvalueoftheoriginalwork．ItistheresponsibilityofthetranslatortoleaveenoughspaceforTLreaderstogivefullplaytOtheirimaginationandhavethesameaestheticenjoymentasSLreaders．Thiscanbeseenasakindoffidelitytotheoriginalwork．What’Smore，translationiSdifferentfromcreationinwhichtheSLwriterstartsfromscratch．Thetranslatorshouldpayattentiontotheextenttowhichhedealswiththegaps，nottochangethemarbitrarily,incasethetranslationheproducesdeviatesfromtheSLwriter’Sintention．4．2．4FactorsAffectingGaps—preservationGaps-preservationispossible，butsometimesitisnoteasytorealize．Ingeneral，factorsthataffectgaps-preservationinthetranslationofclassicalChinesepoetryarecausedbythedifferencesinlanguageandculturewhichmakeovertranslationandundertranslationinevitable．4．2．4．1DifferenceinLanguageStructureChineseandEnglishrespectivelybelongtoSino-TibetanlanguagefamilyandIndo-Europeanlanguagefamily．Therefore，thedifferencesbetweenChineseandEnglisharemoreobviousthanthoseamonglanguagesfromthesamefamily．47 Intermsofpoetrytranslation，themostinfluenceisfromthestructuredifferencesbetweenthetwolanguages．Chineseiscomposedofideographsandstressesparataxisinsyntax-theplacingofrelatedclauses，etc．inaserieswithouttheuseofconnectingwords．Chineselayslessemphasisongrammarwithoutstrictrequirementonpartofspeech，tense，personornumberandattachesimportancetotheexpressionofmeaningandthecreationoflinguisticbeauty,thushavinggreatflexibility．Whenusedinthecreationofpoetry,itformsaspecialcharacteristicintheaspectsofwording，phrasing，rhetoricdevices，etc．，providingvariouspossibilitiesfortheconstructionofartisticconceptionandtheexpressionofaestheticperception．Itendowspoetrywithastrongexpressivecompetenceandbecomesthesourceofgaps．Different舶mChinese．Englishiscomposedofabstractalphabetsandstresseshypotaxisinsyntax—_thedependentrelationofaclauseorconstructiononanother．Itdependsgreatlyongrammaticalrules，characterizedbywell-knitstructurewitheachpartconnectedasawholethroughconjunctivewords．Itlaysstressontheaccuracyoftenseandclarityofconcept．ThiskindofrigorousgrammarandtheemphasisonrelationshipbecomesabarriertotheprocessmgofgapsinthetranslationofclassicalChinesepoetry．4．2．4．2DiffereneeinCultureTranslatorsarenotonlyprocessingtwolanguages，buttwocukuresthatarecompletelydissimilartoeachother．Chinesecultureformsitsownstyleinahistoryofmorethan5000years，broadandprofoundwhileEnglishcultureoriginatesfromancientGreekandRomancultureandisgreatlyinfluencedbytheBible。Afteralongtimeofdevelopment，thetwOpeopleswillhavedifferencesinpersonality,．temperament，religion，morality,linguisticexpression，thinkingpattern，lifestyleandSOon．Thustheymaygivedifferentculturalmeaningstothesameimageorevenhavesomeculture-loadedimagesthatarepeculiartooneculture．Take“杜鹃”asanexample．Itcanrefertoabird，cuckoo，oraflower,azalea,andcontainsaprofoundculturalconnotationinChineseculture。ItissaidthatattheendoftheZhouDynasty,EmperorDuyuinSuchuanabdicatedthethroneanddied．ARerwards，hissoulchangedintoabirdcalledDujuan．Thebirdcriedsadlydayand ChapterFourCrapsandGaps-preservationintheTranslationofClassicalChinesePoetrynightanditsbleed-tearsscatteredacrossthecountrysideandbecameflowers．Therefore，inChineseliterature，“cuckoo’’and‘‘azalea'’areoftenusedtogether,suchas“杜鹃花与鸟，怨艳两相赊。疑是口中血，滴成枝上花。”byChengYanxiong．Somepoetsuse“杜鹃”toexpresstheirendlesshomesickness，suchas“蜀国曾闻子规鸟，宣城还见杜鹃花。一叫一回肠一断，三春三月忆三巴。”byLiBai．Someuseittoexpressdeepsorrow,suchas“庄生晓梦迷蝴蝶，望帝春心托杜鹃”byLiShangyin．Inadditiontohomesicknessanddeepsorrow,“杜鹃”canalsobeusedtorepresentspring．LuYouoncewrote“时令过清明，朝朝布谷鸣”andFanChengdaalsooncewrote，“绿遍山野白满川，子规声里雨如烟”．Nomattercuckooorazalea，theirculturalconnotationinChinesewilldisappearwhenthepoemiswanslatedintoEnglish，becausecuckoomeansfool，lunaticoranunwelcomeintruderinaplaceorsituationinEnglish．Thusthegapscausedby“杜鹃”inclassicalChinesepoetrywillbedestroyedafterbeingtranslated．49 ChapterFiveConclusion5．1MajorFindingsoftheThesisClassicalChinesepoetry,asaprecioustreasureofChineseliterature，hasbeentranslatedbymanyscholarsathomeandabroad．Itisverycommonthatdifferenttranslatorsproducevariousversionsofthesamepoem．Andthedeepreasonforthatphenomenonistheexistenceofgapswhichcontributealottothework’Sartisticbeautyandaestheticbeauty．Therefore，iftranslatorswanttoproduceexcellentworks，athoroughstudyofgapsinclassicalChinesepoetryisnecessary．ThisthesisappliesReceptionAesthetics，atheoryofliterarycriticismfirstproposedbytheConstanceSchoolinGermany,tothestudyofthespecialcharacteristicofclassicalChinesepoetryanditstranslation．Startingfromareviewofpoetrytranslationathomeandabroad，thethesispointsoutthedeficiencyofcurrentstudyandintroducesthefocusofthisstudy．Then，basedontheconceptsofReceptionAesthetics，thisthesisanalyzesfivecategoriesofgapsinclassicalChinesepoetryandemphasizestheirimportancetothevalueoftheworkandtotheaestheticenjoymentofTLreaders．Next，theauthorintroducesthetechniqueofgaps‘preservationwhichoriginallyusedintraditionalChinesepaintiIlgintothetranslationofpoetry．Gaps-preservationmeanstheconstructionofappealingstructureandthemaintenanceoffuzzybeautyinthetranslation，toprovideimaginationspaceforTLreaders．Finally,takingtheexpectationhorizonofTLreadersintoconsideration，theauthorputsforwardsfourmajorprocessingmethodsforthegapsinclassicalChinesepoetrywithanalysesofconcreteexamples，stressingthattranslatorsshouldpayattentiontotheextenttowhichhedealswiththegapsandtrytowellfuseTLreaders’expectationhorizonwiththehorizonpresentedbythetranslation．Throughtheanalyseswithexamples，itCanbefoundthatgapsareanindispensablepartofclassicalChinesepoetry,thelackofwhichwillspoiltheaestheticvalueofaworkandpreventtheinteractionbetweenreadersandthework．Itisthegapsthatstimulatereaderstounderstandthetextaccordingtotheirdifferent expectationhorizons．Therefore，theauthorofthethesisbelievestheprocessingofgapsofclassicalChinesepoetrywilldirectlydecidethequalityofthetranslation．Intranslationpractice，itispossibletopreservegaps，butitiscertainthattherealizationofgaps。preservationwillbeaffectedbythedifferencesbetweenChineseandEnglishandbetweenChinesecultureandEnglishculture．Asaresult，whendealingwithgapsinthetranslationofclassicalChinesepoetry,atranslatorneedstoovercomethebarrierscausedbythosedifferencesandtoleaveproperspaceforTLreaders’imagination．5．2LimitationsoftheStudyThethesismakesanattempttoexplorethesignificanceofgapsinclassicalChinesepoetryandthepossibilityofgaps—preservationinthetranslation．Althougheffortshavebeenmadebytheauthorofthethesis，therearestillsomelimitationsofthestudyduetotheauthor’Slimitedknowledgeandability．Firstly,theexampleanalysesarenotenoughinquantityandvariety．MostexamplesusedinthethesisaretranslatedbYChinesescholars．Thedeficientselectionoftranslationworksbyforeigntranslators，tosomeextent，limitstheprofundityoftheanalysis．Secondly,theevahationofdifferenttranslationversionsandtheeffectoftheprocessingmethodsdiscussedabovearemadebytheauthorherself．HypothesisaboutTLreaders’receptionlevelandtheiraestheticreactiontothoseversionsismadeaccord啦totheauthor’SunderstandingofTLreaders．Iftherecouldbeforeignreaders’participa；tionintothestudy,theconclusionofthethesiswillhemoreconvmcmg．． 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