On the Aesthetic Reproduction in Chinese Classical Poetry Translation from the Perspective of Xu Yuanchong’s Three Beauties Principle—Take the Four Versions of AutumnThoughts as Examples姓名：__________班级：__________指导教师：______AbstractAs a special branch of art,poetry translation is similar to literature creation but has its own particular aesthetic principle. The translator should convey the original artistic concept in another language and enable the reader to undergo aesthetic experience. The language in classical Chinese poetry is characterized in implicit meaning, concise expression and rich artistic conception, so the translation of it not only is faithful and equal to the original language, but also reproduces beauty in the target language.Chinese poetry is concise in language, distant un mood, clear in rhythm and strict in the building of verse-lines. It is a shining pearl in Chinese culture, To convey the beauty in the classic Chinese poems and let the English readers tend to have the same appreciation as we Chinese do, translating the classic Chinese poems into English. Therefore, it is of positive and profound significance in terms of translating practice to adopt the translation aesthetics in exploring how to represent in the target language at the original beauty that the classics Chinese poems show from artistic perspective.In addition, it also attempts to make a multi-dimensional study of Mr Xu’s poetry translation techniques, summarize how he represents and displays the beauty and charm of the classic Chinese poems in the English versions that he has made Mr Xu’s translating experiences and three-beauty doctrine, to a large extent and in practical sense, will guide translation beginners to set foot on a correct track and serve as a valuable reference to translation beginners. What’s more, one point of view is put external dissemination of the Chinese classical poetry and greatly promote the international exchange between different culture.Key words: aesthetic reproduction; poetry translation; Autumn Thoughts;Xu Yuanchong; Three Beauties Principle摘要诗歌翻译是一个特殊的艺术门类, 既与文学创作相似, 又有其独特的审美原则。
翻译者须用另一种语言把原作的艺术意境传达出来, 使读者在读译文的时候能像读原作时一样得到美的享受。
中国古典诗歌语言含蓄隽永, 高度凝练, 意境丰富精深, 这就使得古诗英译不能仅仅满足于忠实对等, 更要在目的语中再现美感。
中国古典诗词文字练达, 句式严谨, 韵律鲜明, 意境悠远, 是中国文化中一颗灿烂光辉的明珠。
用英语来传达中国古典诗词中的美, 使译入语读者能够象原作读者一样得到美的享受, 应是中国古典诗词英译的追求所在。
因此, 运用翻译美学理论探讨在目的语中如何再现中国诗歌美的艺术对翻译实践有积极深刻的意义。
本文多维度地研究许渊冲先生诗歌翻译技巧, 总结在他的翻译中如何再现中国古典诗词之美、如何展现中国古典诗歌的无穷魅力。
许渊冲先生的翻译经验和“三美”说对翻译学习者有现实的指导意义和借鉴价值。
同时，对于中国古典诗歌翻译美学角度的研究不仅可以加强中国古典诗歌文化的对外传播, 对国际间不同文化的和谐交流也具有积极的促进作用。
在回顾中西方翻译美学传统的基础上, 从许渊冲的“三美”原则视角论中国古典诗歌翻译美学再现—以《天净沙·秋思》四种译本为例。
中国古典诗歌集意、音、形三美于一身, 因此笔者从美学角度探讨诗歌翻译并对译本的美学再现进行系统分析, 从而证明“三美”原则对中国古诗英译的翻译实践活动具有实用价值和许渊冲对诗歌翻译的巨大贡献。
关键词：美学再现，诗歌翻译，《天净沙·秋思》，许渊冲“三美”原则ContentsChapter 1 Introduction (1)1.1 Source of This Selected Theme (1)1.2 Significance of This Selected Theme (2)Chapter 2 Definitions and Literature Review (4)2.1 Definitions of Translation Aesthetics (4)2.2 The Main Points of the Aesthetic Translation Theories (5)Chapter 3 Xu Yuanzhong’s Practice and His Theory on Translation63.1 Translator Xu Yuanzhong and His English Versions (6)3.2 Xu’s Theory on Translation (7)3.2.1 Three Beauties (8)Chapter 4 Analysis of the Aesthetic Representation of Xu’s Three Beauties Principle—Take the Four Versions of AutumnThoughts as Examples (10)4.1 the Four Versions of Autumn Thoughts as Examples (11)4.2 “Three Beauties” in Four Versions (11)4.2.1 Beauty in Sound (12)4.2.1 Beauty in Sense (13)4.2.2 Beauty in Form (14)Capter 6 Conclusion (16)Acknowledgements (19)Chapter 1 Introduction1.1 Source of This Selected ThemeBeauty can be found everywhere in the world with no exception in translating activities. To disseminate our refined and great culture lo the outside world, translation, as a means of communication between different ethnic groups, has played an irreplaceable role. Along with the pursuit of beauty in the course of translation, translation aesthetics has burgeoned into an independent and flourishing area in translation studies. In the retrospect of the history of the Chinese translation aesthetics, we can trace its source to 1700 years ago when Buddhist scripts were first introduced into China by translation. The vestiges of aesthetics can be found deep-rooted in all kinds of descriptions in relevance with the traditional Chinese translation theories.In his Introduction to Translation Aesthetics, Mr. Liu Miqing has tactically and dialectically made a down to the last detail analysis of the aesthetic source of translation studies, both at home and abroad, meticulously dealt with the formation and attribution of the aesthetic object and subject in the translating events. He has also in this book had explanations focused on the aesthetic ideology, the aesthetic psychological structure and the aesthetic cognitive schema that occur in the operation of translation. Aside from what stated above, he has systematically discussed the issues of aesthetic ideal and aesthetic representation in his book. Theoretically, this study is based on the related viewpoints that Mr. Liu Miqing has presented in his Introduction to Translation Aesthetics.In the field of translating the classic Chinese poems into English, Mr. Xu Yuanzhong has scored the most outstanding achievements which have won him greatreputation, home and abroad. Apart from his translating practice, he has taken an active part in the investigation of the previous translation studies related to poetry translation according to his own experiences. He has established a systematic theory in his books on translation, such as Art of Translation, D iscussions over Rhymes in the English Translations of classic Chinese Poems and On Literature Translation. His Three-Beauty Theory or Doctrine represents his views on the translation of classic Chinese poetry.Chinese poetry is concise in language, distant in mood, clear in rhythm and strict in the building of verse-lines. It is a shining pearl in Chinese culture. To convey the beauty the classic Chinese poems bear and let the English readers tend to have the same appreciation as we Chinese do will be an ideal effect that a translator should make every endeavor to make in translating the classic Chinese poems into English.What stated above can justify why the English versions of the classic Chinese poems translated by Mr. Xu Yuanzhong are worth a thorough study from the perspective translation aesthetics.1.2 Significance of This Selected ThemeViewed from the perspective of translation aesthetics, together with Xu Yuanzhong’s Three-Beauty theory, and based on Xu Yuanzhong’s translation practice of classic Chinese Poetry, in this thesis an analysis is made to expound the characteristics of the aesthetic object, the aesthetic experience process of aesthetic subject and cultural features of the classic Chinese Poetry. In addition, the multi-dimensional analysis of Xu’s translation skills will also be made in terms ofhow to make the aesthetic representation of the classic Chinese poetry in English, how to fully display the charm of Chinese classical poetry and how to learn from Xu’s translation models as a beginner in this field.The research method of this project is on the grounds of literature analysis and philosophical thinking from the perspective of translation aesthetics in order that we may find better ways to convey the culture carried by the classic Chinese Poetry outside world.Therefore, it is of positive and profound significance in terms of translating practice to adopt the translation aesthetics in exploring how to represent in the target language the original beauty that the classic Chinese poems show from artistic perspective.Chapter 2 Definitions and Literature Review2.1 Definitions of Translation AestheticsBefore we get down to this research, it is necessary for us to make clear what Translation Aesthetics is.In Dictionary of Translation Studies, the chief editor Fang Mengzhi defined Translation Aesthetics as: to reveal the aesthetic origins of translation and discuss the special significance of aesthetics on translation, to understand the scientific and artistic nature of translation with the aesthetic point of view and use the basic aesthetic principles to put forward the translation aesthetic standards for different literary types of writing and analysis, interpret and resolve the aesthetic problems in translation conversion. on the basis of fully understanding of the basic attributes of translation aesthetic object (the original text) and translation aesthetic subject (Translator), to analyze the aesthetic composition of the translation object and the dynamic reaction of the translation subject and to make clear the relationship between aesthetic subject and aesthetic object and provide the types and means to aesthetic representation in translation activities to guide the translation practice. Since there are so many aesthetic schools both in China and west and the translation studies cover so wide, translation aesthetics can only deal with the basic issues involved in translation studies in a broad-caliber, multi-angle and multi-level way.In Translation Aesthetics, Professor Mao Ronggui defines Translation Aesthetics as: the research target of Translation Aesthetics are the translation aesthetic object (the original text, the translated version), the translation aesthetic subject (thetranslator, the readers to the versions), the aesthetic activities in translation, the aesthetic judgments in translation, aesthetic appreciation, aesthetic standards and the creative aesthetic representation in the translation process, etc.Based on the above two definitions, translation aesthetics could be understood as: the basic aesthetic principles that are used to the components of the translation activities and to all aspects of the translation process. In the translation process, to interpret the issues of the analysis, comprehension, transformation and representation of the translation object (the original text, the translated versions) by the translation subject (the translator, readers to the translated versions) with the aesthetic point of view to arrive the aesthetic standards of translation. The translation subject needs to exert his initiative to achieve the aesthetic value of the translation object in the target language and ultimately to make the translation activities have the aesthetic significance.2.2 The Main Points of the Aesthetic Translation Theories“Beauty” is a very broad concept of philosophy. Throughout the history, the theories on translation aesthetics both abroad and home have gone through a development from shallow to deep, easy to difficult, point to surface. From the beauty in form, in sense, in loyalty or in creation, the theorists and various schools present their own interpretation of Translation Beauty in the perspective of philosophy, literary theory, aesthetics, linguistics and psychology. All in all, a place where there is translation, there is the matter of beauty. Translation and beauty can not be separated.Chapter 3 Xu Yuanzhong’s Practice and His Theory onTranslation3.1 Translator Xu Yuanzhong and His English VersionsAccording to Xu Yuanzhong’s autobiography, Vanished Springs and Vanished Springs H, Xu Yuanzhong was born in Nanchang, Jiangxi province in 1921 and has ever studied at the Experimental Primary School in Nanchang. In 1932, he was admitted to the second high school in Nanchang, the most famous middle school in Jiangxi province. In 1938, he took the opportunity to be a student in the Department of Foreign Languages in National Southwest Associated University. In his first year in university, he translated Lin Huiyin’s poem, Do not Throw Away, into English and published it in Literary Translation Report. This was his first translation work. By Xu Yuanzhongs own words: Looking back at all my life, the primary school I got in is the city’s best primary school and the secondary school is the best secondary school in the province and even the university is the national best university. (Xu Yuanzhong, 2008, 4) Thus, Mr. Xu’s has got the most excellent education. Mr. Xu has ever actively responded to the Ministry of Education's call for the U.S. Air Force to be a volunteer translator and completed his task satisfactorily during his studies in university. After his graduation from National Southwest Associated University, he continued his studies in Foreign Literature Research Institute, Tsinghua University and taught at Kunming Tienhsiang secondary schools. At the same time, he got the translation of Dryden’s drama: All for Love. In 1948, he went to study in Europe and received his Diploma by Literature Institute of ParisUniversity in 1950. After returning home he has been the English and French Professor in Foreign Languages Universities in Zhang Jiakou and Luoyang. Since 1983, he has been a Professor in Peking University until now.With his fruitful translation works in his life, Xu Yuanzhong is one of the most famous translators in our country and is especially known for his translation versions of ancient Chinese poetry. In general, his books can be divided into four categories: 1. fifty-six translations from Chinese to English: such as the Book of Poetry, The Analects of Confucius,Songs of Chu, Poewis in Tang and Song Dynasties and so on; 2. Eight translations from Chinese to French: such as Ancient Poems, the Book of Poetry, Poetry by Mao Zedong, Poems in Tang and Song Dynasties, Rural Sketches and etc.; 3. Ten translations from English and French to Chinese: such as All for Love by Dryden, Beginning of Life by Balzac, Water by Maupassant and Pegasus Vacated by Henry. Tayjor. 4. His ten English and Chinese books: Art of Translation, the prose Vanished Springs and Vanished SpringsⅡ, and the English work O n Chinese Verse in English Rhyme: From the Book of Poetry to the Romance of the western However etc. So, the verse on his card “With more than forty books sold both at home and abroad. the only person translates Chinese poems into English and French. ” really tells us the truth and by no means to be exaggerated.3.2 Xu’s Theory on TranslationApart from the series of translations above, with his more than sixty years rich translation practice, Xu Yuanzhong has also been concentrated on the research of translation theory and put forward his Eight Talks on Poem Translation: Identification,Innovation, Imitation, Rendition, Intention, Re-creation, Benefit andRecreation. And his Ten Talks on literature Translation: on Culture, on Standard, on Faithfulness, Expressiveness and Superiority, on Retranslation, on Inspection, on Methodology, on Three Transmigrations, on Creation for Loss, on re-creation theory, on Creation of the Best as in Rivalry. All his talks compose to be a complete theory system, in which the Three Beauties and Creation of the best as in Rivalry are the most famous.3.2.1 Three BeautiesThree Beauties, respectively, are: Beauty in Sense refers to the translated version can get the readers moved as the original poem; Beauty in Sound is that the translated version should have the pleasant rhythm as the original poem; Beauty in Form means the translated version needs to maintain the form of the original poem as much as possible (such as length, parallelism, etc.). (Xu Yuanzhong, 2003,85) In the first passage From Word to Article in Brief History of Literature in Han Dynasty by Lu Xun, a paragraph goes: to read and study a word, one needs to get to know sense, sound and form three aspects: listening to its sound by reading it with your mouth, observing its form with your eyes and comprehending its sense with your heart. By getting the three aspects together, the function of the word can be achieved completely. As for article, when one describes the mountain in Chinese, he uses of 嶙峋嵯峨，汪洋澎湃is for water.At the sight of 蔽芾葱茏，the readers will think of the frondent tree and 鳟鲂鳗鲤presents the crowded fishes swimming before eyes. For what these words contained include the three beauties. The first, Beauty in Sense is to get readers moved. The second, Beauty in Sound is to give a good voice to readers’ears and the third Beauty in Form is to please readers’ eyes. With the inspiration from the above discussion, Mr.Xu concluded the Three Beauties to express his keen pursuitto aesthetic translation.According to the paper Beauty in Sense, Sound and Form by Mr. Xu, in “Three Beauties”, Beauty in Sense is of the first importance. Beauty in Sound follows and the last is Beauty in Form. With the foundation of Beauty in Sense, Beauty in Sound could be pursued and on the basis of Beauty in Sense and Beauty in Sound, Beauty in Form can be considered. Three Beauties need to be achieved as possible as one can.The British translator of Three Hundred Tang Poem,Dennis.Helden, appreciates the Three Beauties very much, which was put up forward in T he Art of Translation. That is the translating of poems should convey the Beauty in Sense, Beauty in Sound and Beauty in Form of the original as possible as one could (Xu Yuanzhong, 2008,220). This shows that the Three Beauties by Mr. Xu has gone across the national boundaries and received the foreign experts' affirmation and appreciation.Chapter 4 Analysis of the Aesthetic Representation of Xu’s Three Beauties Principle—Take the Four Versions ofAutumn Thoughts as ExamplesThe splendid Chinese culture has a long history, and poetry is just like a bright pearl shining in it. The ancient Chinese is so expressive, artistic and rich that Ezra. Pound, one of the most famous American poets, said: The best language for poetry in the world is Chinese. Poems, created in this most ancient language in the world, or simple and plain, or passionate and enthusiastic, or fresh and crisp, or elegant and subtle, all could bring people with enjoyment of beauty.But how could we show this beautiful poetry in another language? On this question, there are different schools with their own views in translation world: “Rhythm School”, with Xu Yuanzhong and Herbert A. Giles, professor in Cambridge University, as their representatives, advocates that poetry should be translated into poetry; While Weng Xianliang and British scholar Arthur Waley represented the “Prose School”or “Free-form School”which advocates that poetry could be translated into prose or free form and they claim that the use of rhythm is certainly to do harm to the sense. On the controversy between poetry-to-poetry and poetry-to-prose or free form, Xu Yuanzhong deems that the prose form prefers truth while poetry form values beauty and they both think in their way.With the principle of poetry-to-poetry and his profound language skill, Mr. Xu concentrates greatly on the research and finally blazed a new road in the thorns of translation field and won a high reputation in poetry translation.4.1 the Four Versions of Autumn Thoughts as ExamplesVersion one: Autumn: Crows hovering over rugged old trees with withered vine the day is about done. Yonder is a tiny bridge over a sparkling stream, and on the far bank, a pretty little village. But the traveler has to go on down this ancient road, the west wind moaning, his bony horse groaning, trudging towards the sinking sun, farther and farther away from home. (翁显良译)Version two: Tune: Clear Sky over the Sand: Over old trees wreathed with rotten vine fly evening crows; Beneath tiny bridge beside a cot a clear stream flows: On ancient road in western breeze a lean horse goes; Westward declines the sun; Far,far from home is heartbroken one. (许渊冲译）Version three: The Moods of a Traveler in Autumn - to the Tune of Yue Melody: Ode to Clear Sky A little bridge lies across the stream which past houses flows;A wither’d vine clings to the old tree, in which crows rest; A lanky horse crawls along the ancient road, and th’west wind blows; The dusky sun is sinking down west; The earth's remotest corner witnesses a stranger much distres’s d (隼振英译）Version four: Autumn Thoughts: Withered vines, olden trees, evening crows; Tiny bridge, flowing brook, hamlet homes; Ancient road, wind from west, bony horse; setting sun; Broken man, far from home, roams and roams. (赵甄陶译）4.2 “Three Beauties” in Four VersionsBeauty in Sense, Beauty in Sound and Beauty in Form by Mr. Xu analyzecompletely the factors of beauty for Chinese poetry from three aspects. His poetry-to-poetry principle exerts himself to reach the goal of “Three Beauties” and in fact his translated versions have fully reflected the beauty in sense, beauty in sound and beauty in form of poetry.4.2.1 Beauty in SoundIt is said that the thyme is to poetry what the column is to a house, if the column is not stable, the house will dump. In the same, if the thyme is not in harmony, the poem will necessarily be bad. Ancient Chinese poetry is particular about melody and rhythm. The harmonious melody and the distinctive rhythm provide poetry with the natural style of flowing waters and drifting clouds and add profound charm to poetry. The four tones in classical Chinese phonetics: level tone, falling-rising tone, falling tone, and entering tone could be flexibly composed into various thymes as the poets’wish. Or alliteration, or end-rhyme, or assonance, with harmonious tonal patterns and neat antithesis, most of them could be read with cadence. It is this reason that sets a hard stone in the translator’s way to copy or reproduce the beauty in sound of the original poems.Version one conclude many alliteration, like: wreathed with, sparkling stream, west wind and sinking sun; in addition, it also has rhyme, like: moaning, groaning, sinking. Alliteration and rhyme show the rhythm of the version.When this poem is read, besides the comprehension of its implication, the Rhythm is worthy of more attention, its charm could be appreciated. With the intention to express the poet’s feeling for autumn Mr. Weng translated this poem into the prose form, aiming to enable the target readers to easily understand the originalpoem’s content and mood. But the poem, as it should be, is different from the prose. The loss of rhythm will definitively make readers feel sorry for the translation.4.2.1 Beauty in Sense“Mood counts the most in poetry. With mood, the poetry will be fine and famous quotations will be achieved.” At the very beginning of The Poetic Remarks of the Human World, Wang Guowei gives the statements above. It can be seen that mood is an important part in poetry and it is also the first important factor in poetry. Mood can easily be understood as the poets' own emotional feelings which are transferred to the scene.In The Art of Translation, Xu Yuanchong states that “in the translation of Tang poems, the most important task for a translator to do is to reproduce the beauty m sense”(113). And Nida defines translation as “the reproduction in a receptor language of the closet natural equivalent to the source language message, first in terms of meaning, and secondly in terms of style” (Nida 208). This is quite reasonable that meaning is of vital importance in all types of messages Translation, as a means of communication, is just to help readers get the same message of the original text. To achieve that, a translator should have thorough comprehension of the original content and spirit before he starts his work. Xu Yuanchong points out that”’beautiful sense’does not refer to the surface meaning but the deep meaning-image and artistic conception”(翻译的艺术 122). The translation should be first faithful to the content and at the same time should pay much attention to the reproduction of images, which will involve the matter of expression-style. In this way, a translator can produce the artistic mood or poet's temperament and interest in the version.Version two: The English version by Xu Yuanzhong perfectly reproduces the beauty of dreariness in the original poem, that is, beauty in sense. The “old trees, rotten vine, evening crows; in the first and second lines of the original give the miserable mood. In the English version, Mr. Xu takes the way of literal translation and he chooses the words “Clear ,old, rotten, vine stream flows, breeze, lean heartbroken. ”to create the atmosphere of silence,loneliness and gloom as in the original. Then, the poet took a tum to write the dynamic lines. In the third and fourth line, he would like to cut off the sadness and the depressed feelings are overflowing in his chest. The English version goes hand in hand with the original. Mr. Xu uses “decline”independently to reproduce the dynamic beauty, expressing the poet’s strong wish to cut off the sadness. In addition, it echoes the “old” at the beginning, one silent and one dynamic, making the whole poem hang together and the poet’s speechless gloom is compared to be more obvious.4.2.2 Beauty in FormIn Mr. Xus “Three Beauties” theory, even though Beauty in Form is placed in the last position. the formal beauty in poetry is an indispensable part in poetry charm constitute. People will inevitably feel sorry for the versions without beauty in form even though the implication of the original is achieved. The pursuit of version with beauty in both spirit and form is the goal, for which the translators are striving.Version three and version four are from masters’ hands. Both are loyal to the contents of the original poem. In addition, the two translators strictly stand to the original poem’s language form. The long Sentences are interspersed neatly in the short ones. The beauty in form is achieved. Both can be fine works. Whereas, the onlydrawback is that the number of words of short sentences in the two parts is not in exact antithesis in Lin’s version. Therefore, from the visual perspective, it will not be as neat or natural as the original.Capter 6 ConclusionIn this thesis, we have discussed poetry translation, especially the English translation of our versions of A utumn Thoughts as example from an aesthetic perspective to reveal the artistic and aesthetic feature of poetry translation through the systematical study of translation aesthetic traditions and application of Xu Yuanchong’s Three Beauties Principle.American poet Robert Frost has ever said, “Poetry is what gets lost in translation” (Xu Yuanzhong, 2008, 106). Qian Zhongshu also said: I do the translation of poems just like dancing in the clogs and fetters of thyme and meter. (Xu Yuanzhong, 2008, 138) However, Mr. Xu’s translation of Chinese poetry received great approval and praise by experts and scholars at abroad and home. In his letter to Xu Yuanzhong, Professor Qian Zhongshu stated: “... I have just finished reading it (English version of Poems of Mao Zedong) and marvel at the supple ease with which you dance in the clogs and fetters of thyme and meter. ”(Xu Yuanzhong, 2008, 96). Weist, Professor of Eastern Language Department in University of California, commented on his version of Book of Songs in English: it is a delight to read’(Xu Yuanzhong, 2003, 257). All the praises above can prove that professor Xu Yuanzhong is worthy of the title “Translation Laureate”.The aesthetic representation of aesthetic information in different languages is the aim of aesthetic translation activity. It is also the final purpose for aesthetic subject to unscramble the aesthetic compositions of the aesthetic object with his own aesthetic experience. That is to say, in aesthetic activities of poetry translation, translator is aesthetic subject, while the original poem is aesthetic object. Translator and theoriginal poem are interdependent together. Through the careful exploration to the aesthetic features and the overall grasp of the artistic compositions of the original poem, the translator could reproduce or re-create the aesthetic qualities of the original poem in another language.Poetry is a treasure of Chinese culture. Professor Xu Yuanzhong has made great contribution to the translation of Chinese classical poetry, and his achievements left profound effects in Chinese classical poetry translation. With “three Zhis”(the knowing of the poem, preference to the poem and enjoyment from the poem) as his goals, Mr.Xu set his pen of translation flexibly in this field. His English versions of Chinese classical poems have re-presented the beauty in sense, sound and form of the original poems. Professor Xu’s skillful techniques in translation not only reflected his profound learning of our Chinese culture but his exceptional knowledge of English. More importantly, His English versions of Chinese classical poems supply significant references for future translators.In such an open era, the role of translation is not need to talk. It is closely involved in almost every area, politics, economy, culture, technology, history and so on. Whatever fields, the languages we depend on get the common aesthetic standards. Therefore, aesthetics means so much to translation. Aesthetic theory on translation by Liu Miqing provides us a solid theoretical foundation. It gives a macroscopic guidance to the translation researchers. “Three Beauties”by Xu Yuanzhong is the essence in aesthetic theories on translation. It supplies a microscopic instruction to literary translation, especially translation of Chinese classical poetry and such brilliant achievements have been made. With such an excellent guidance in front of us, what we need to do is just to go on looking for beauty, discovering beauty and caring for beauty in translation , more importantly, getting the translation cause forward.。