On The Aesthetic Reproduction In The Translation Of Li Bai’s Poetry From The Perspective Of The Three Beauties Principle

Chinese classical poetry is a pearl in the Chinese cultures. It is famous for its beautiful artistic conception and rhythm. Its language is implicative, highly concise and rich in artistic conception. To enable more people to enjoy cultural treasures and introduce this immortal cultural heritage to the world, many Chinese scholars have been long committed to the translation of classical Chinese poetry. With the continuous development of China, more and more foreign scholars also began to take an interest in Chinese culture and devoted themselves to the Chinese classical literary translation studies. Especially Chinese classical poetry attracted a large number of translators attention. Poetry translation is a special category of art, because it is similar to literary creation but at the same time has its unique aesthetic principles. This makes the translation of Chinese classical poems not merely realize faithful equivalence and meanwhile reproduce aesthetics in the target language. Translation has been long connected to aesthetics both in theory and practice. Poetry is the highest form of language and poetry translation is to convey the artistic conception of the original by another language, which can make the reader in the target language get inspired, be moved and have an enjoying feeling just as they read the original. Apart from the function of conveying language information, poetry translation also has high aesthetic values.However, Chinese and English have different language systems. Due to the different cultural backgrounds, social customs and history between China and English-speaking countries, it is an arduous work to translate classical Chinese poetry. In the process of massive translation practices, it comes into being different translation schools. It can be roughly classified into three schools of verse translation from Chinese to English:metrical verse school, free verse school and prose school. The main point of metrical verse school is to translate poetry in the poetic way. While free verse school advocates abandoning rhyme, not being constrained in the line number but keep a certain rhythm in the pursuit of transmitting the original meaning at the greatest extent. As for the prose school, they hold the view of keeping the nature of original poem. Three schools have their own advantages and deficiencies. On account of the difficulty compromising among three schools, the author of this paper will discuss the translation of Li Bai’s poems from aesthetic aspect.This paper reviews the combination history between translation and aesthetics both in China and in western countries, and gives a brief introduction to main representatives of contemporary Chinese translation aesthetics and their translation thoughts. Among them Xu Yuanchong’s translation aesthetic though has a big influence in China. His Three Beauties principle has great practical value. The author systematically illustrates how to reproduce Three Beauties in the translation of Li Bai’s poems under the guide of Three Beauties principle and its innovative value and practical significance. Xu’s translations still have some shortcomings, but most of them are successful. Hence the author proposes to treat Three Beauties principle dialectically. Xu Yuanchong puts his translation principles into practice and obtained achievement. His excellent translation skills are worth learning. There is no doubt that his beneficial attempts on translation theory and practice have a positive effect on the further development of China literary translation.