AnAnalysisofEnglishTranslationoftheImagesinTangPoetryfromthePerspectiveofFunctionalEquivalenceTheory從功能對(duì)等角度分析英譯唐詩(shī)中的意象翻譯iAnAnalysisofEnglishTranslationoftheImagesinTangPoetryfromthePerspectiveofFunctionalEquivalenceTheoryAbstract:AsasymbolofChineseculture,TangpoetryplaysanveryimportantroleinChineseculturalinheritance.ManyforeignersuseTangpoetrytounderstandChinesetraditionalculture,sohowthetranslatordealswiththeculturaldifferencestoexpressthemeaningoftheoriginalpoemisaverydifficulttaskintranslation.ManyscholarshavemadeoutstandingcontributionstothetranslationofTangpoetrypastandpresent,anddifferenttranslatorsadoptdifferentapproachesintranslation.Thispaperwillanalyzethebirthanddevelopmentoffunctionalequivalenceandthewaysinwhichitguidestranslation,brieflylistthepreviousstudiesandresultsonimagetranslationofTangpoetry,andusethefunctionalequivalencetheory,proposedbyEugene.A.Nida,toanalyzehowtranslatorsshoulddealwiththeimagesinTangpoetryintranslationbytakingXuYuanchongsversionofEnglishtranslationofTangpoetryasanexample.BasedonEugene'sfunctionalequivalencetheoryandXuYuanchong'sversionofEnglish-translatedTangpoetry,thispaperconcludesthatnaturalimagescanbetranslatedfreelytoconveythemostinformationintheoriginaltext,whileculturalandsocialimagescontainingallusionscanbetranslatedliterallyandannotatedtofacilitateforeignreaders'understandingofallusions.Keywords:Functionalequivalencetheory;Tangpoetry;images;poetrytranslationii從功能對(duì)等角度分析英譯唐詩(shī)中的意象翻譯摘要：唐詩(shī)作為中國(guó)文化的象征，在中國(guó)文化傳承中起著十分重要的作用，也是外國(guó)學(xué)者了解中國(guó)傳統(tǒng)文化的媒介。不少學(xué)者在唐詩(shī)英譯中做出了杰出的貢獻(xiàn)。如何處理文化差異，表達(dá)原詩(shī)的意義，是翻譯過(guò)程中的一項(xiàng)十分艱巨的任務(wù)，也是唐詩(shī)翻譯中的難點(diǎn)，不同的譯者也會(huì)有不同的處理方式。本文將分析功能對(duì)等的誕生與發(fā)展，及其指導(dǎo)翻譯的方式，列舉前人對(duì)唐詩(shī)意象翻譯的研究及結(jié)果，并運(yùn)用尤金提出的功能對(duì)等理論，以許淵沖版本的英譯唐詩(shī)為例，分別舉例分析譯者在翻譯過(guò)程中處理不同種類(lèi)的唐詩(shī)意象所采取的翻譯技巧，并總結(jié)了，自然意象盡量選擇意譯以傳達(dá)最多的原文的信息，而包含典故的文化意象和社會(huì)意象可以選擇直譯加注釋的方式進(jìn)行翻譯方便外國(guó)讀者了解典故。關(guān)鍵詞：功能對(duì)等理論；唐詩(shī)；意象；詩(shī)歌翻譯AnAnalysisofEnglishTranslationoftheImagesinTangPoetryfromthePerspectiveofFunctionalEquivalenceTheoryContentsAbstract. ii摘要 iiiIntroduction 21.LiteratureReview 21.1TheDefinitionandDevelopmentofFunctionalEquivalenceTheory 31.2PreviousStudiesonEnglishTranslationofImagesinTangPoetry 42.FunctionalEquivalenceTheory 62.1FourAspectsofFunctionalEquivalenceTheory 62.2TranslationbasedonFuctionalEquivalence 73.AnAnalysisofEnglishtranslationoftheimagesinTangpoetrybasedonFunctionalEquivalencetheory 83.1TheDefinitionofImage 83.2TheTranslationofNaturalImagesinTangPoetry 93.3TheTranslationofCulturalImagesinTangPoetry 103.4TheTranslationofSocialImagesinTangPoetry 11Conclusion 12Bibliography 14Acknowledgements 15IntroductionIntheearly1960s,Nidafirstadvancesthetheoryofformalequivalence,andthendevelopsitcontinuously.Fromthelinguisticpointofview,basedontheessenceoftranslation,Nidaputsforwardthewell-known"dynamicequivalence"translationtheory,namelyfunctionalequivalence.Nidabelievesthatintranslation,thetranslatorshouldconveynotonlythelexicalinformationoftheoriginaltext,butalsotheinsideculturalinformation.Therefore,functionalequivalenceintranslationincludeslexicalequivalence,syntacticequivalence,textualequivalenceandstylisticequivalence.Functionalequivalenceemphasizestheuniversalityoflanguageandthestandardizationoflanguagetransformation,requiringthetranslatortoconsiderthedifferentculturalbackgroundsbetweenthetargetreaderandtheoriginalreader.Ontheotherhand,asarepresentativeofChineseculture,Tangpoetryhasbeenpaidcloseattentiontobytranslatorsallaroundtheworldsincealongtimeago.ThefamoustranslatorXuYuanchongisoneofthem.Inhisopinion,sinceclassicalChinesepoetryisacombinationofbeautyofmeaning,soundandform,translatorsshouldtrytheirbesttoreproducethe"threebeauties"oftheoriginalpoem.Thistheoryhasprofoundhistoricalandculturalfoundation.AsXu’s“threebeauties”arerecognizedbymoreandmorepeople,hisversionofEnglishtranslationofTangpoetryisgettingmoreandmorerespected.Asanimportantbridgeforpoetstoconveytheirfeelings,imagesinpoetryplayanimportantroleinpoetry.InTangpoetry,theimageusuallyreferstothenaturalimage,thatis,theimagetakenfromnaturetoreposeemotions.Poetsprefertousenaturalimagestoimplytheirinsidefeelings.Besidesnaturalimages,culturalimagesandsocialimagesarealsoimportantinTangpoetry.Alltheseimagestogethergivepoetsspacetoexpresstheirfeelingsthoroughlyintheirpoems.Therefore,inthefollowingpart,thisthesiswilltakeXuYuanchong'sEnglishversionofTangpoetryasanexampletoanalyzetheimages’translationinTangpoetrybasedonthetheoryoffunctionalequivalence.LiteratureReviewDuringthepastdecades,oneofthemostimportanttranslationtheoriesmustbethefunctionalequivalencetheoryproposedbyEugeneA.Nida,andmanyscholarshaveappliedthistheorytotheirtranslations,discussingwhetherthistheoryisappropriateornot;somealsopayalotofattentiontodiscussingandanalyzingwhetheratranslatedtextisexcellentornotaccordingtothistheory.Eventillnow,therearestillmanyscholarsdiscussingthistopic.Andthispartofthethesisisareviewofthedefinitionanddevelopmentofthefunctionalequivalencetheory,whichconcludesthereasonforandmeaningofusingfunctionalequivalenceintranslatingimagesinTangpoetry,theextendedfunctionalequivalence-thefouraspectsofthefunctionalequivalencetheory,andalsoareviewofthepreviousstudyontheEnglishtranslationofimagesinChineseTangPoetry.TheDefinitionandDevelopmentofFunctionalEquivalenceTheoryThefamoustranslationtheoristNidadefinesthattranslationconsistsinreproducinginthereceptorlanguagetheclosestnaturalequivalentofthesourcelanguage,firstintermsofmeaningandsecondlyintermsofstyle.Andhistranslationtheory,thefunctionalequivalencetheory,whichconsistsofthedynamicequivalenceandformequivalence,isveryimportantinthedevelopmentoftranslationtheories.Inhisbook,TowardsaScienceofTranslating(1964),heputsforwardandwhatdistinguisheshecalls“dynamicequivalence”forthefirsttime,andthenheextendsthedefinitionofdynamicequivalenceinthebook,TheTheoryandPracticeofTranslation(1969).Atthattimedynamicequivalenceisdefinedintermsofthedegreestowhichthereportersofthemessageinthereporterlanguagerespondtoitinsubstantiallythesamemannerasthereportersinthesourcelanguage.(Nida,1969)Itemphasizestheequivalenceinresponsebutnottheequivalenceofform.Andlater,sincethe1970s,especiallyafterthe1980s,Nida'stranslationthoughtshaveenteredanotherstageofdevelopment.Duringthisperiod,Nidaconstantlyrevisesanddevelopshistranslationtheory.Nidabelievesthatformisalsomeaningful.Translationisnotonlytotranslatethecontentoftheoriginaltext,butalsotoachievetheclosestapproachtotheformoftheoriginaltext.Ifformandcontentconflict,thenformshouldgivewaytocontent.Aqualifiedtranslationmustbeabletoconveytheinformationtheauthorwantstoconvey;secondly,itneedstoconveythestyleandcharacteristicsoftheoriginaltext;thirdly,languageandformmustbestandardizedandconsistentwiththerequirementsofthetargetlanguage;finally,itshouldbeabletomakethetranslationproduceresponsessimilartothosebythereadersoftheoriginaltext.Later,toavoidbeingmisunderstandingandprovideaclearermeaning,hereplacestheterm“dynamicequivalence”withtheterm“functionalequivalence”inthebookFromOneLanguagetoAnother(1986).Nidaexplainsthathechangeshisstatementbecausesomeonethinksdynamicequivalenceonlyemphasizestheeffectsofthetranslatedtext,Inordertoeliminatethismisunderstandingandalsotoemphasizetheconceptof“function”,heusesfunctionalequivalencetoreplacedynamicequivalence.Functionalequivalencerepresentsthattranslationdoesnotrequirerigidcorrespondenceliterally,buttheequivalencebetweenfunctionintwolanguages.Nidapointsoutthatatranslationshouldneversoundlikearealtranslationandtranslationistoreproducethesourcelanguageinformationinthemostappropriate,naturalandequivalentlanguage.Andthefunctionalequivalenceconsistsoffouraspect:lexicalequivalence,syntacticequivalence,textequivalenceandstylisticequivalence.AccordingtoNida,anexcellenttranslatedtextshoulddowellinallthesefouraspects.Thebasicideaoffunctionalequivalenceistocomparethewayreadersrespondtoandappreciatetheoriginaltextwiththewaytherecipientsofthetranslatedtextunderstandandappreciateit.Nidabelievesthattranslationisnotonlytheequivalenceofinformation,butalsotheclosestreactionbetweentherecipientofthetranslationandthereaderoftheoriginaltext.Fromthecontentabove,itcouldbeeasilyfoundthatfunctionalequivalencefocusesonthereaders’response,thatis,theresponseofthereadersofthetranslatedtextisthesameastheresponseofthereadersoftheoriginaltext.AccordingtoNida,thesettlementofculturaldifferencesiscloselyrelatedtothereproductionofthesourcelanguagefromsemanticallytostylistically.Onlywhenthestyleandspiritofthesourcelanguagearereproducedfromthelinguisticformtotheculturalconnotationcanthetranslationberegardedasanexcellentwork.Butthisleveloftranslationisveryhardtoreachbecauseitrequiresthesourcelanguageandthetranslatedlanguagetobehighlysimilartoeachother.PreviousStudiesonEnglishTranslationofImagesinTangPoetryPoetryisaveryimportantformofliterature.Thelanguageusedinthepoetryisrefined,harmoniousandfullofculturalbeauty.Poetsusethemostrefinedwordstoexpressthemostcomplexfeelingsandpoetryisalsofullofthebeautyofrhythm.TangPoetry,anrepresentativeofChinesetraditionalliterature,isfamousforitsrefinedlanguage,complexmeaning,andisfullofChinesetraditionalculturalbeautyandrhythmicbeauty;everysinglewordcouldsymbolizetheinnerfeelingofthepoet.ManyscholarshavetranslatedfamousTangPoetryintoEnglish,andoneofthemostfamousonesmustbeXuYuanchong.Afterthat,therehavebeenmanystudiesonthetranslationofTangPoetrywiththetranslatedversionofXuYuanchongasthecorpus.In2011,LiYingwritesathesisaboutherstudyofthestrategiesofimagetranslationinTangpoetryfromtheperspectiveofthreetranslationlevelsproposedbyXuJun.Inthisthesis,shemainlyanalyzesthetranslationstrategiestranslatorsusewhiletranslatingimages,suchastheimageequivalencestrategywhentheimageinthetargetlanguagesharesthesamemeaningwiththeoriginallanguage,theimagesubstitutionstrategywhenthereisanotherimageinthetargetlanguagesharingthesimilarmeaningwiththeimageintheoriginallanguage,andtheimageinterpretationstrategywhentheassociativemeaningsofimagesgivenbyChineseandWesternpoetsarequitedifferent.Laterin2012,LuYingandXiaoJiayananalyzeimagetranslationinEnglishtranslationofTangpoetryfromtheperspectiveofdifferencesinthinkingbetweenChinaandtheWest.Theytaketheimage“紅豆”asanexampletoshowstrategiesfordealingwiththiskindofimagesinTangpoetry.Theymentionedthreekindsoftranslation:intralingualtranslation(rewording),interlingualtranslationandintersemiotictranslation.In2014,ZhaoWenstudiestheEnglishtranslationofimagesinTangPoetryfromtheaspectoffunctionalequivalencetheorybutsheneitherlistsanyexamplenordoesanin-depthstudyonit.Sheimpliesthattheaimofpoets’usingimagesistoexpresstheirfeelingsorsharetheirexperiences,andinmostcases,theimagesinChineseandinEnglishsharethesimilarmeaning,butwhenitcomestothecasewherethesameimagehasdifferentmeanings,thetargetreaders'acceptabilityshouldbetakenintoconsideration,ratherthanthewordcorrespondence.Inthesameyear,BaiYestudiesthetranslationofimagesinTangpoetrybasedontheSkopostheory.HisanalysisofthetranslationofimagesinTangpoetrycouldbedividedintothreecategories:theanalysisoftheallusionimagestranslation,theanalysisofhistoricalstoriesorcharactersimagestranslationandotherimagestranslation.HetakesthethreebasicrulesintheSkopostheoryasprinciplestoanalyzewhetherthetranslationisappropriateornot.Laterin2017,anotherscholar,LiuFujuanalsousestheSkopostheorytoanalyzethetranslationofimagesinTangpoetry,butherstudyhasmoredetailswiththeculturalimages,thehistoricalstoriesandcharactersintheTangpoetryastheobjectsofstudy.Alsoin2017,ZhouChangjunstudiesXuYuanchong’stranslationofLiBai’spoetryfromtheperspectiveoffunctionalequivalencetheory.Inherstudy,shementionedtwomeanstotranslatethesepoemsintoEnglish:thefirstoneischangingthestableimagestomovableones;thesecondoneischangingabstractimagestospecificones.AlthoughtherearesomanypreviousstudiesoftheEnglishtranslationofimagesinTangpoetry,mostofthemarebasedonothertranslationtheories,suchastheSkopostheory.Thispaperwillusethefunctionalequivalencetheorytomakeanin-depthstudyofthetranslationofimagesinTangpoetry.FunctionalEquivalenceTheoryAccordingtoNida,thebesttranslationshouldneverbelikeatranslation,translatorsshouldtrytheirbesttomaketheirtranslationsconveythesamemeaningandemotionsastheoriginalversion.Nidapointsout,“translationisusingthemostappropriate,naturalandequivalentlanguagetoreproducethesourcelanguageinformation,includingthereproductionfromsemanticstostyle”.Therearefouraspectsoffunctionalequivalencetheory:lexicalequivalence,syntacticequivalence,textualequivalenceandstylisticequivalence.2.1FourAspectsofFunctionalEquivalenceTheoryLexicalequivalencemeansthattranslatorsshouldrememberthatthemeaningofawordliesinitsuseinlanguage,inthebook,TowardsaScienceofTransalting,Nidasays:“Thereareingeneralthreelexicallevelstobeconsidered:(1)termsforwhichtherearereadilyavailableparallels,e.g.river,tree,stone,knife,etc.;(2)termswhichidentifyculturallydifferentobjects,butwithsomewhatsimilarfunctions,e.g.book,whichinEnglishmeansanobjectwithpagesboundtogetherintoaunit,butwhich,inNewTestamenttimes,meantalongparchmentorpapyrusrolledupintheformofascroll;and(3)termswhichidentifyculturalspecialties,e.g.synagogue,homer,ephah,cherubim,andjubilee…”(Nida,1964,P137)Fromthesentenceabovewecouldeasilyfindthat,fromNida’sview,thesimilarlexicalmeaningisquiteimportantintransaltion.Syntacticequivalencepointsoutthatinordertofindoutthebestformofthetranslation,translatorsshouldnotonlyknowwhetherthesentencestructureinthetargetlanguageisthesameasthatusedinthesourcelanguage,butalsounderstandthefrequencyofitsuse.Textualequivalencerepresentsthatindiscourseanalysis,weshouldnotonlyanalyzethelanguageitself,butalsoseehowthelanguageembodiesitsmeaningandfunctioninaspecificcontext.Textualequivalenceconsistsofthreelevels:contextualcontext,situationalcontextandculturalcontext,whichshouldbeallconsideredintranslation.Stylisticequivalencefocusesonlinguisticfeaturesofthesourcelanguageandthetargetlanguage.Thestylisticequivalenceemphasizesthattranslationworksofdifferentstyleshavetheirownuniquelinguisticfeatures.Onlywhenboththesourcelanguageandthetargetlanguagearemasteredatthesametimeandtranslatorsareskilledinusingbothlanguages,cantheycreatetranslationsthattrulyreflectthestyleofthesourcelanguage.2.2TranslationbasedonFuctionalEquivalenceInordertoaccuratelyreproducethesourcecultureandeliminateculturaldifferences,Nidagivesoutthreefactorstranslatorsshouldpayattentionto:(1)thenatureofthelanguage;(2)thepurposeorpurposesoftheauthorandbyproxy,ofthetranslator,and(3)thetypeofaudience.Guidebythefourprinciplesandthethreefactors,translatorscanfollowthefollowingtips:First,duringtranslation,translatorsshouldfindoutthesimilarmeaninginthetargetlanguage.Then,translatorsshouldtakecontextintoconsideration,judgingwhetherthetranslationofsemanticsisproperornotbasedontheanalysisofthelanguageinthecontext.Next,translatorsshouldalsopayattentiontospecificpeopleandthingsinvolvedincommunication,communicationchannelsandtherelationshipbetweenparticipantsandpsychologicalfeelings.Inpoetrytranslation,translatorsshouldpayattentiontothesituationbetweenthepoemandtheemotionthepoetwantstoconvey.Finally,translatorsshouldnotforgetthesocialandcultural,historicalandsocialbackgroundsoflanguageuse.Nidapointsoutinhisbookthat,thetranslatorsshouldavoidtwokindsoferrors:(1)usingcontemporarywordswhichfalsifylifeathistoricallydifferentperiods,(2)usingold-fashionedlanguageinthereceptorlanguageandhencegivinganimpressionofunreality.So,inconclusion,functionalequivalencetheorymainlyguidestranslationpracticethroughthefollowingfourcriteria:tomakesense;toconveythespiritandstyleoftheoriginalwork;tohaveanaturalandeasyformofexpression;toproducesimilarresponses.AccordingtoNida,meansofdealingwithculturaldifferencesarecloselyrelatedtoreproducingthesourcelanguageinthetargetlanguagefromsemanticstostyle.Onlywhenthestyleandspiritofthesourcelanguagearereproducedfromthelinguisticformtotheculturalconnotationofthetranslatedtextcanitbecalledanexcellentwork.Guidebythesethreetips,translatorscouldcreateaexcellenttranslation.AnAnalysisofEnglishtranslationoftheimagesinTangpoetrybasedonFunctionalEquivalencetheoryThereasonwhyitisdifficulttotranslateTangpoetryisthatTangpoetryisanimportantcarrierofChinesecultureandhistory,andithasitsuniquefeatures.Tangpoetryhasvariousforms,richandcolorfulstyles,anddifferentcharmindifferentperiodsofdevelopment.ItpushestheartisticfeaturesoftheharmonyofsyllablesandrefinementofwordsinancientChinesepoetrytoanunprecedentedheight,andfindsthemosttypicalformofancientLyricpoetry,whichisstillespeciallypopularwiththepeopletoday.ForeignreaderswholacktheknowledgeofChineseculturefinditdifficulttoappreciatethecharmofChineseTangpoetryfully.Therefore,howtotransfertheknowledgeofChinesecultureinTangpoetryskillfullytoforeignreadersintranslationisthemostimportanttaskfortranslators.AsaimportantcomponentofTangpoetry,theimage’stranslationisofuppermostpriority.3.1TheDefinitionofImageTheimageisanimportantconceptinancientChineseliterarytheory.Theancientsthoughtthattheintentionwastheinternalabstractmind,andthattheimagewastheexternalconcreteimage;theintentionoriginatedfromtheheartandwasexpressedbymeansoftheimage,andtheimagewasactuallytherepositoryoftheintention.Aswhatwe’vementionedabove,inTangpoetry,theimageusuallyreferstothenaturalimage,thatis,theimagetakenfromnaturetoreposeemotion.Thenaturalimagesincludetheanimalimageslikepartridges,theplantimagessuchaswillow,andnaturallandscapeimageslikethemoon,runningwaterandsoon.Besidethenaturalimages,theculturalimageswhichincludethehistoricalstoriesandcharacters,andthesocialimagesarealsopartoftheimagesinTangpoetry.Sointhefollowingpart,thisthesiswillanalyzethetranslationofdifferentkindsofimagesbasedonthefunctionalequivalencetheory.3.2TheTranslationofNaturalImagesinTangPoetryInTangpoetry,whenwetalkaboutnaturalimages,therearealargeamountofpoemscouldbelistedasexamples.Example1《越中覽古》宮女如花滿(mǎn)春殿，只今惟有鷓鴣飛Hispalacethrongedwithflower-likeladiesfair;Nowweseebutaflockofpartridgesflyingthere.Inhisfamouspoem,TheRuinoftheCapitalofYue,intheverse“宮女如花滿(mǎn)春殿，只今惟有鷓鴣飛”,LiBaiusesthenaturalimage”鷓鴣”toexpressthatastimegoesby,theonceprosperouspalaceisnowmiserable.Andthetranslator,ProfessorXu,choosestheliteraltranslationtotranslateit.Hetranslatesitdirectlyas“partridges”,althoughinthewesternculturethepartridgemaynotsharethesamemeaningasitisintheoriginalpoem.Foreignizationusedheremaycausedifferencesinreaders’responses,becauseforeignerscouldnotunderstandthemiserablefeelingsbehindtheimage.SothetranslatorcouldaddanoteheretoexplainthemeaningofpartridgesinChinesetohelptheforeignersunderstandthefeelingsinsidetheimage.Example2《靜夜思》舉頭望明月，低頭思故鄉(xiāng)。Lookingup,Ifindthemoonbright;Bowing,inhomesicknessI’mdrowned.Whenwetalkaboutlandscapeimagesinnaturalimages,themostrepresentativeimagesmustbethemoon.Poetsalwaysusethemoontoexpressthesorrowofhomesickness,forexample,inLiBai’sThoughtonaTranquilNight(《靜夜思》),the“moon”inthisverseisobviouslyusedtoexpresspoet’shomesickness,andthetranslator,XuYuanchong,choosesnottobringitoutdirectly,butkeepthemeaningontheappearance,becauseinthelatterhalfofthisverse,thepoetalreadypointsouthisemotion.Soitcouldbeeasilyconcludedthattheliteraltranslationmethodusedhereisactuallyappropriate.3.3TheTranslationofCulturalImagesinTangPoetryTheexampleaboveisatypicaloneofliteraltranslation,whichmeanstranslatorsdonotneedtoconveytheinnermeaningtohelpreaderstosharethesameemotionwiththereadersoforiginaltext,butinmostcasesthetranslationofimagesinTangpoetryneedstoconsidertheexpressionofinnermeaning.TakeLiShangyin’sTheSadZitherasanexample:ExampleThree《錦瑟》錦瑟無(wú)端五十弦，一弦一柱思華年。莊生曉夢(mèng)迷蝴蝶，望帝春心托杜鵑。滄海月明珠有淚，藍(lán)田日暖玉生煙。此情可待成追憶？只是當(dāng)時(shí)已惘然。TheSadZitherWhyshouldthesadzitherhavefiftystrings?Eachstring,eachstrainevokesbutvanishedsprings:Dimmorningdreamtobeabutterfly;Amorousheartpouredoutincuckoo’scry.Inmoonlitpearlsseetearsinmermaid’seyes;FromsunburntjadeinBlueFieldletsmokerise.Suchfeelingcannotberecalledagain:Itseemedlostevenwhenitwasfeltthen.Fromthetitleofthispoem,wecanlearnthattheskillsoftranslationarealreadydifferentfromtheexampleabove.Theword“錦瑟”isakindofChinesetraditionalstringinstruments,whichisalsoainstrumentunfamiliartoforeignreaders,sothetranslatortakesthepoet’semotioninthispoemoutandusesasimilarinstrumentsthatforeignreadersaremorefamiliarwithtomeettherequirementoffunctionalequivalencetheory,thesimilarresponseofthetargetlanguagereaders.Inthefamousverse“莊生曉夢(mèng)迷蝴蝶，望帝春心托杜鵑”therearetwoallusionimagesthatforeignersmaynotbefamiliarwith,.“莊生曉夢(mèng)”representsafabledstory:ZhuangZi，afamousphilosopheroftheWarringStatesPeriod，dreamedofbeingabutterflyandwhenhewokeup，hewassoconfusedthathecouldnottellwhetheritwashimthathaddreamtofbeingabutterflyoritwasabutterflythatwasthendreamingofbeinghim.“望帝”isalegendarykingwhohadanaffairwithhisprimeminister’swifeandafterhisdeathhisspiritchangedintothecuckoo．Thepoetusesthisallusiontoexpressthathislifeisunsuccessfulandhisambitionisnotrewarded.Inordertoreachtheequivalence,thenamesofZhuangshengandWangdiareomittedinXu’stranslation.Hechoosethetranslationskillscontrarytotheexamplesabove,theliberaltranslation.Thereadercanunderstandthesceneofthesentenceconstruction,butcannotunderstandtheoriginofallusions.Tosolvethisproblem,wecoulduseliteraltranslationhereandaddnotestoexplainthehistoricalstoriesofthesetwocharacters.Inthisway,thetranslationconveystheinformationoftheoriginaltexttothegreatestextentpossible.AnothersimilarexampleisLiuYuxi's（《金陵懷古》），Mr.XuYuanchongalsoadoptedthemethodofdirectlyreplacingallusions.：Example4“后庭花一曲，幽怨不堪聽(tīng)?！薄癘hearthecaptiveruler’ssong!Howcanyoubearhisgriefforlong?”Theword“后庭花”referstothesong《玉樹(shù)后庭花》,whichwaswrittenbyChenShubao,theemperoroftheSouthernDynastyChen.LatergenerationsgenerallyuseittosymbolizetheextravaganceofChenShubao,wholedtoChen'sdemise.Mr.XuYuanchongavoidedthetranslationoftheimageof"后庭花"anddirectlyinterpreteditas"thesongofthecapturedruler"tohelptheforeignerunderstandthepoet’semotionhidingbehindtheverse,whichdidnotprovidereaderswiththeopportunitytounderstandtheallusion,sothereadersmayhavesimilarresponses,buttheculturalinformationinsidetheverseisstillremainundercover,whichmeanstheforeignerscouldnothavethesamefeelingsafterreadingthispoem.Andwecouldusethesamepatternastheexampleabove,useliteraltranslation,translate“后庭花”directltyinto“HoutingHua”,andaddanotetoexplainthemeaningofthisimage.3.4TheTranslationofSocialImagesinTangPoetrySometimes,thesocialthingschantedinthepoems,thecharactersportrayed,thelifescenesdepicted,thesociallifeplotsandhistoricalfactslaidoutinthepoemsarealsousedtoexpressfeelings,whicharealsoimages.Thatis,thesocialimagerelativetothephysicalimagesandthenaturalimages.Andpersonimagesisanimportantkindofsocialimages.Example5江南逢李龜年岐王宅里尋常見(jiàn)，崔九堂前幾度聞。正是江南好風(fēng)景，落花時(shí)節(jié)又逢君。ComingAcrossaDisfavoredCourtMusicianontheSouthernShoreoftheYangtzeRiverHowoftinprincelymansionsdidwemeet!AsoftinlordlyhallsIheardyousing.NowtheSouthernsceneryismostsweet,ButImeetyouagaininpartingspring.Therearethreehistoricalfiguresinthispoem:"LiGuinian","Qiwang","CuiJiu",firstofall,thetitleof"LiGuinian"isagoodfriendofDuFu,theauthorofthispoem.HewasafamousmusicianintheflourishingTangDynasty.HewasoncefavoredbyEmperorXuanzongoftheTangDynasty.However,aftertheAnshiRebellion,hewanderedaro