1、（20_届）本科毕业设计英语汉诗意象的英译以诗经翻译为例IMAGETRANSLATIONOFCHINESEPOEMACASESTUDYOFTHEBOOKOFSONGSI摘要诗经作为中国的国粹，蕴涵着巨大的文学翻译研究价值。现阶段的英译研究在进一步发展，但是还存在问题，特别是意象的翻译，还不够深入与全面，有待进一步加强。本文首先介绍意象概念及其在诗经中的体现，然后比较同一意象在杨宪益版本与JAMESLEGGE的版本中的不同翻译，并观察这些意象在哪个版本中翻译的更恰当。关键词诗经意象文学翻译概念IIABSTRACTBOOKSOFSONGS,AQUINTESSENCEOFCHINA,CONTAINS
2、GREATVALUEINITSLITERARYTRANSLATIONTHERECENTRESEARCHHASBEENDEVELOPINGBUTTHEREARESTILLPROBLEMSIMAGETRANSLATIONASTHEMAINOBJECTOFRESEARCHESISSTILLHARDFORUSANDNEEDSMOREATTENTION,FORTHEPREVIOUSWORKISNOTTHOROUGHANDCOMPREHENSIVEENOUGHTHISTHESISFIRSTINTRODUCESTHECONCEPTOFIMAGESANDIMAGESINTHEBOOKOFSONGSTHENIT
3、WILLCOMPARETHEIRTRANSLATIONINYANGXIANYISANDJAMESLEGGESVERSIONSTOSEEWHOSETRANSLATIONISMORESUITABLEANDFAITHFULTOTHEORIGINALKEYWORDSBOOKSOFSONGS,IMAGE,LITERARYTRANSLATION,CONCEPTCONTENTSABSTRACT1INTRODUCTION12THESTUDYOFIMAGE121THEDEFINITIONOFIMAGE222THEDEVELOPMENTOFIMAGEINCHINAANDWESTERNCOUNTRIES23THEB
4、RIEFINTRODUCTIONOFPLANTIMAGEINTHEBOOKOFSONGS331THEIMAGEOFLOVE332THEPROSPEROUSPLANTS433THEWITHERINGPLANTS44CONTRASTINGTHESAMEIMAGEINDIFFERENTTRANSLATIONVERSIONS541THEIMAGEOFCREEPINGGRASSTRANSLATEDINTWOVERSIONS742THEIMAGEOFPLUMSTRANSLATEDINTWOVERSIONS95METHODSOFTRANSLATION106CONCLUSION12BIBLIOGRAPHY13
5、ACKNOWLEDGEMENTS1411INTRODUCTIONTHERESEARCHESONTHETRANSLATIONOFTHEBOOKOFSONGSHAVEALONGHISTORYWITHTHEPROGRESSMADE,MOREANDMOREASPECTSHAVEBEENDEVELOPEDBYTHESCHOLARSTHERECENTRESEARCHESAREUNDERGONEWITHFOURASPECTSBELOW1RESEARCHESONTHETRANSLATORSTHISKINDOFRESEARCHAIMSPURELYATTHETRANSLATORS,ANDITPAYSLITTLEA
6、TTENTIONTOOREVENNEGLECTSTHETRANSLATORSSTRATEGY,PERSONALVALUEANDTHEIRIDEASSOTHISKINDOFRESEARCHISSTILLNOTVERYPOPULARUNTILNOW2RESEARCHESONTHEVERSIONSTHEREAREMOREANDMOREVERSIONSINRECENTYEARSBUTFEWWITHHIGHQUALITYIN1993,ZHOUFAXIANGANDXUYUANCHONGPUTFORWARDTHEIDEAOFDOINGRESEARCHFROMCULTURETRANSMISSION,WHICH
7、WASINGREATVALUE李玉良,200720AFTERTHISPOUNDALSOSTATEDINTHISASPECT,ANDMANYOTHERSCHOLARSALSOMADECONTRIBUTIONSTOTHERESEARCHESABOVEALL,THISKINDOFRESEARCHESISNOTTHOROUGHANDCOMPREHENSIVE3RESEARCHESONCONTRASTINGDIFFERENTVERSIONSTHISKINDOFRESEARCHHASNTBEENUNDERGONEINLARGESCALEINCHINA,ESPECIALLYINMAINLANDITWASFI
8、RSTPUTFORWARDBYZHANGSHANGGUAN,ASCHOLARINTAIWAN李玉良,200722HEADVISEDTODORESEARCHESONCONTRASTINGPARTOFTHEVERSIONS,ANDTHISCASEFIRSTMADEITALARGESCALEINCHINA4RESEARCHESONMETHODSOFTRANSLATIONINMAINLAND,THISKINDOFRESEARCHMAINLYUNDERGOESWITHTHEDISCUSSIONOFMETHODSINACERTAINVERSION,ANDUSUALLYCHOOSESONLYONEORTWO
9、POEMSTHEDISCUSSIONDEVELOPSMAINLYWITHTWOASPECTSTHEMETHODSOFDEALINGTHERHYTHMS,THEMETHODSOFREPRODUCINGTHEPOETRYTHEPREVIOUSRESEARCHESHAVEGAINEDASOLIDFOUNDATION,BUTTHEREARESTILLDEFICIENCIESINGENERALSOWENEEDTOTRYOURBESTTOCREATEMOREASPECTSTODORESEARCHANDALSOWESHOULDDEEPENOURRESEARCHESINEVERYASPECT2THESTUDY
10、OFIMAGE21THEDEFINITIONOFIMAGEIMAGEISTHECOMBINATIONOFIMAGESCHEMAANDPRAGMATICMEANING，ANDTHEYARETWOPARTSTHATCANNOTBESEPARATEDTOACERTAINEXTENTIMAGESCHEMAISAKINDOFLANGUAGETHATEXISTSINITSSPECIFICIMAGE,WHILEPRAGMATICMEANINGREFERSTOPEOPLESTHOUGHTSANDFEELINGSGENERALLYSPEAKING,ITTOTALLYINCLUDESALLTHECONSCIOUS
11、NESSWITHIMAGESINPOEMSANDOTHERLITERARYWORKSINANARROWSENSE,ITREFERSTOTHEPROCESSOFHOLDINGTHECREATORSSUBJECTIVE2ANDOBJECTIVEMINDSANDEXPRESSINGTHEIRDETAILSINALANGUAGE22THEDEVELOPMENTOFIMAGESINCHINAANDWESTERNCOUNTRIESTHECONCEPTOFIMAGEHASBEENDISCOVEREDINEARLYDAYSANDHASALONGHISTORYINCHINAACCORDINGTOTHEBOOKO
12、FCHANGESTHESAGESUSUALLYFINDIMAGESTOEXPRESSTHEIRFEELINGSFULLY金景芳,1998291THENINNORTHERNANDSOUTHERNDYNASTIES，LIUXIECAMEUPWITHTHEIMAGESTHATWEREBASEDONESTHETICCONCEPTIONWHENITCOMESTOTANGDYNASTY,LIUYUXIMADETHECONCEPTOFIMAGESFURTHERHETHOUGHTTHATARTISTICCONCEPTIONINCLUDESNOTONLYTHESPECIFICIMAGESTHATCANBEFEL
13、TDIRECTLY,BUTALSOTHEILLUSIONSAROUND,ANDAESTHETICMEANINGBECOMESTHEMAINOBJECTIVEOFCHINESECLASSICLITERARYHOWEVER,THEREISNOSUCHCONCEPTINTHEWEST，ANDITISFIRSTPUTFORWARDBYTHOMASERNESTHUMLE（殷国明,1999140）INTHETWENTIETHCENTURY,FAMOUSIMAGISTPOETSHEADEDBYPOUNDINFLUENCETHEWESTERNLITERARYDEEPLYANDTHOROUGHLYPOUNDRE
14、ALIZEDTHEIMPORTANCEOFIMAGESTHROUGHREADINGERNESTFENOLLOSASWORKSCHINESESCHOLARZHAOYIHENGTHINKSTHATPOMESINTHEEASTMAKEGREATEFFECTSONIMAGISTS,ANDACTUALLYCHINESEPOEMSCONTRIBUTEFARMORETOTHEIMAGISTSTHANTHEJAPANESEONESDOTHUS,THECONCEPTOFTHEWESTERNIMAGEISCLOSELYBOUNDTOTHECHINESEONES（殷国明,1999140POUNDONCEGAVEAD
15、EFINITIONOFTHEIMAGESAS“ACOMBINATIONOFRATIONANDEMOTIONSHOWINGFORASHORTWHILE“（黄晋凯等,1989132）,THATISTOSAY,THEIMAGESEXPRESSRATIONANDEMOTION,BUTEMPHASIZEONTHESHORTWHILEHOWEVER,THISDEFINITIONIGNORESTHECHARACTEROFIMAGESSPECIFICALTHOUGHITWASVERYLATETOCOMEUPWITHTHECONCEPTOFIMAGESINTHEWEST,THEREARESTILLMANYIMA
16、GESINTHEIRLITERARYWORKSBEFORETHETWENTIETHCENTURYHEREANDTHERE,FOREXAMPLE,IMAGESINSHAKESPEARSWORKSSUMMER,ROUGHWINDS,BUDS,THEEYEOFHEAVEN,GOLDCOMPLEXIONANOTHEREXAMPLE,IMAGESINWORDSWORTHSWORKSCLOUD,VALES,HILLS,GOLDENDAFFODILS,LAKE,TREES,FLUTTERING,DANCINGANDBREEZEINCHINA,IMAGESEXISTEDANDEVENBECAMEAMAINWA
17、YTOEXPRESSIDEAS，FOREXAMPLE,CREEPINGGRASS,PLUMS,REEDS,MILLETINAWORD,IMAGEHASBEENOFGREATIMPORTANCENOTONLYINPOEMSBUTALSOINOTHERLITERARYWORKSINTHEWORLD3THEBRIEFINTRODUCTIONOFPLANTIMAGEINTHEBOOKOFSONGSPLANTSAREUSEDINMANYPOEMSWRITTENINBOTHANCIENTANDMODERNTIME,INWHICHTHEYAREUSUALLYUSEDTOEXPRESSFEELINGSBYTH
18、EPOETSASAVERYPOPULARIMAGE,THEYHAVELOTSOFDIFFERENTMEANINGS,SUCHASMARRIAGE,LOVEANDLIFETHEBOOKOFSONGSISTHEEARLIESTPOETRYCOLLECTIONINANCIENTCHINA,WHICHNOTONLYSHOWSTHECHANGINGOFPEOPLESFEELINGSANDEMOTIONS,BUTALSOPRESENTSTHECUSTOMS3000YEARSAGOALSOTHEREAREANUMBEROFPLANTIMAGESINITACCORDINGTOSTATISTICS,TOTALL
19、YTHEREARE1600KINDSOFPLANTS,OFWHICHMOSTHAVE3THEIRSPECIALMEANINGRELATEDTOPEOPLESEMOTIONSALMOSTALLTHEPLANTSINTHEBOOKOFSONGSHAVEBEENDESCRIBEDINALITERARYWAY,VIVID,LIVELYANDFULLOFVITALITYTHELANGUAGEFULLOFAESTHETICVALUECOMBINEDWITHWONDERFULIDEASPRESENTSMOREBEAUTIFULANDCLASSICIMAGESOFTHEPOEMTHANOFTHEREALLIF
20、EPLANTSINTHEPOEMSHAVERICHMEANINGSANDBECOMETHEHOPESTORELYONWHETHERTHEYAREPROSPEROUSORWITHERING31THEIMAGEOFLOVESOMEPARTSINTHEBOOKOFSONGSMAINLYSTATETHEGROWTHOFPLANTSALTHOUGHITISSIMPLYAMERELINEDRAWINGSTYLE,ITCANWELLREFLECTTHECONTENTOFPOETRY,ANDMIXWITHITORGANICALLYPLANTSPLAYAVERYIMPORTANTROLEINANCIENTPEO
21、PLESLIFEINTEGRATIONOFPLANTSANDAGRICULTURALCIVILIZATIONBECOMETHENATURALWAYTOEXPRESSEMOTIONOFCOURSE,THEBOOKOFSONGSISNOTJUSTDESCRIBINGASINGLEPLANT,SHOWINGASIMPLEPICTURE,BUTALSOPRESENTINGUSPICTURESWITHRICHMEANINGSFOREXAMPLES,蒹葭苍苍，白露为霜。所谓伊人，在水一方。遡洄从之，道阻且长；遡游从之，宛在水中央。蒹葭萋萋，白露未晞。所谓伊人，在水之湄。遡洄从之，道阻且跻；遡游从之，宛在水
22、中坻。蒹葭采采，白露未所谓伊人，在水之涘。遡洄从之，道阻且右遡游从之，宛在水中沚。（秦风蒹葭）THEMAINTOPICOFTHISPOEMISLOVE,ANDDESCRIBESTHEDATEBETWEENYOUTHSLOVEISBEAUTIFULANDDIMTHEREAREAVARIETYOFWRITINGTECHNIQUESTODESCRIBEDATING,THECLASSICLOVESCENETHEDATESCENEINTHISPOEMFULLYSHOWSUSAPICTURE,INWHICHAMANCOULDNTGETTOGETHERWITHTHEGIRLHELOVESSOMUCHBUTO
23、NLYCANWATCHANDMISSHERFROMTHEOTHERSIDEOFTHERIVERHEREITUSESTHEREEDSASIMAGE,BYWHICHTHEAUTHORCANBESTEXPRESSAKINDOFDISAPPOINTEDFEELINGWITHOUTGETTINGTOGETHERWITHHISBELOVEDINADDITIONTOTHEEXPRESSIONOFTHOUGHTSOFLOVEBETWEENMENANDWOMEN,THEBOOKOFSONGSALSOHASALOTOFPOEMSTOEXPRESSTHEWISHESOFHARVESTANDABETTERLIFETH
24、ROUGHTHEPLANT,FOREXAMPLE芃芃黍苗，阴雨膏之。四国有王，郇伯劳之。（曹风下泉）芃芃黍苗，阴雨膏之。悠悠南行，召伯劳之。（小雅黍苗）原隰既平，泉流既清。召伯有成，王心则宁。（小雅黍苗）INTHISPOEM,THEAUTHORMADEMILLETASITSMAINIMAGE,WHICHFULLYSHOWSUSTHATTHECIVILATTHATTIMESINCERELYHOPEDPEACEINSTEADOFFREQUENTWARS32THEPROSPEROUSPLANTS4THEPROSPEROUSPLANTSCOMPAREDTOTHEIMAGEOFBETTERLIFEORW
25、ONDERFULTHINGSACCOUNTFORALARGEPROPORTIONOFTHEBOOKOFSONGSSOMEPROSPEROUS,BEAUTIFULPLANTSAREWIDELYUSEDASAMETAPHORTODESCRIBEBEAUTIFULWOMENORPRETTYGIRLSFOREXAMPLE,手如柔荑，肤如凝脂。领如蝤蛴，齿如瓠犀。螓首蛾眉，巧笑倩兮，美目盼兮。（卫风硕人）THISSENTENCECOMPARESPRIMARYBUDSTOSOFTANDTENDERHANDSOFTHEGIRLS,VIVIDLYANDTHOROUGHLYSHOWINGTHEIMAGETHAT
26、THEYLIVEAHAPPYLIFE33THEWITHERINGPLANTSNOMATTERHOWWELLTHEPLANTSLIVE,THEYCANHARDLYESCAPETHEDEATHSWITHLEAVESFALLINGANDWINTERSNOWCOVERINGTHEMINTHEBOOKOFSONGSERA,THOUGHTHEREISNOGRIEVEFORTHEENTIRESEASON,AFEELINGOFSEEINGTHELEAVESFALLINGSTILLEXISTSALTHOUGHTHISFEELINGISFARFROMTHEONEINSPRINGANDSUMMER,WHENTHEJ
27、OYRESOUNDSWITHTHEPLANTSPROSPEROUSANDSTRONG,ITDOESOPENTHEDOORINAUTUMNTHOUGHTSFOREXAMPLE桑之未落，其叶沃若。于嗟鸠兮，无食桑葚。于嗟女兮，无与士耽。士之耽兮，犹可说也。女之耽兮，不可说也。桑之落矣，其黄而陨。自我徂尔，三岁食贫。淇水汤汤，渐车帷裳。女也不爽，士贰其行。士也罔极，二三其德。（卫风氓）WEIFENGMENGISAVERYFAMOUSPOEMWHICHDESCRIBESAWOMANDESERTEDBYHERHUSBANDTHISPOEMTAKESADVANTAGEOF桑MULBERRYASITSMAI
28、NIMAGE,WHICHISTHEONLYTHINGTHATSHECANRELYONAFTERSHEISABANDONEDTHEAIMISTOTELLPEOPLEESPECIALLYWOMENNOTTOPAYTHEIRALLEMOTIONSANDYOUTHTOMENWHODONTPAYTHEIRTRUELOVEANDNOTTOBEBLINDFOLDEDBYLOVE4CONTRASTINGTHESAMEIMAGESINDIFFERENTTRANSLATIONVERSIONS41THEIMAGEOF“CREEPINGGRASS“GRASSISAKINDOFPLANTTHATHASTOUGHLIFE
29、INCHINAPEOPLEUSUALLYUSEITASANIMAGETOENCOURAGEOTHERSORTHEMSELVESONCEFACINGSOMEPROBLEMSINTHEIRLIFEORWORKALSOTHEREAREMANYOTHERMEANINGSPEOPLEINANCIENTCHINAONCEREGARDEDCREEPINGGRASSASTHEIMAGEOFLOVEBETWEENYOUNGMENANDWOMENHEREISAPOEMFROMTHEBOOKOFSONGSWHICHDESCRIBESCREEPINGGRASS野有蔓草野有蔓草，零露漙兮。有美一人，清扬婉兮。邂逅相遇，
30、适我愿兮。5野有蔓草，零露瀼瀼。有美一人，婉如清扬。邂逅相遇，与子偕臧。THISISAPOEMOFLOVE,ANDITSMAINIDEAISTHATAYOUNGMANMETAGIRLINTHEWILDWHERETHECREEPINGGRASSWITHDEWDROPSWASLIVINGINAGOODLIFEANDTHENTHEYOUNGMANFELLINLOVEWITHTHEGIRLDEEPLYONSEEINGHERBEAUTIFULLOOKS,STRONGLYEXPRESSINGHISDESIRETOACCOMPANYHERANDLIVEWITHHERFOREVERINORDERTOEXPRE
31、SSHISSINCERELOVE,THEAUTHORUSESCREEPINGGRASSASTHEMAINIMAGE,WHICHINTHISPOEMMEANSVIGOROUSLIFETHEGIRLWASCOMPAREDTOTHECREEPINGGRASSSOASTOSHOWHERBEAUTIFULLOOKSANDHERLIVELYLIFETHEGIRLLIKETHECREEPINGGRASSWASLIVINGINAGOODSTATE,WHICHATTRACTEDTHEMANSOMUCHTHATHEWANTEDANDWISHEDTOSPENDALLHISLIFETOLIVEWITHHERTHEAU
32、THORFULLYSHOWSUSWHATTHELIFEINZHOUDYNASTYWASLIKEANDWHATTHEPURELOVEWASLIKEWITHTHISIMAGETHISPOEMCANBEDIVIDEDINTOTWOPARTSTHEFIRSTPARTSHOWSUSABEAUTIFULPICTUREINWHICHAYOUNGMANMETABEAUTIFULGIRLINTHEWILDWHERECREEPINGGRASSWITHDEWDROPSAREAROUNDHELOVESTHEGIRLATFIRSTSIGHTANDCANNOTHELPBUTEXPRESSINGHISHAPPINESSAT
33、THATTIMEINTHESECONDPARTHEEXPRESSEDHISLOVETOHERANDBESTWISHTOLIVEWITHHERBYPRAISINGHERBEAUTIFULLOOKSNOWTHATWEHAVEKNOWNTHEMAINIDEA,WEWILLCOMPARETWOVERSIONSOFTRANSLATIONABOUTTHISPOEMINTHEWILDSGREWCREEPERS,WITHDEWDROPSSOHEAVYANDTHICKTHEREWASAGIRL,BEAUTIFULANDBRIGHTHERFEATURESSODELICATEANDCHARMINGBYCHANCEW
34、EMETEACHOTHER,SHEEMBODIEDMYLONGCHERISHEDWISHINTHEWILDSGREWCREEPERS,WITHDEWDROPSSOHEAVYANDTHICKTHEREWASAGIRL,BEAUTIFULANDBRIGHTHERFEATURESSODELICATEANDCHARMINGBYCHANCEWEMETEACHOTHER,TOGETHERWITHHERLIFEWILLBEHAPPY（杨宪益戴乃迭）ONTHEMOORISTHECREEPINGGRASS6ANDHOWHEAVILYISITLOADEDWITHDEWTHEREWASABEAUTIFULMAN,L
35、OVELY,WITHCLEAREYESANDFINEFOREHEADWEMETTOGETHERACCIDENTALLY,ANDSOMYDESIREWASSATISFIEDONTHEMOORISTHECREEPINGGRASSHEAVILYCOVEREDWITHDEWTHEREWASABEAUTIFULMAN,LOVELY,WITHCLEAREYESANDFINEFOREHEADWEMETTOGETHERACCIDENTALLY,ANDHEANDIWEREHAPPYTOGETHERTRJAMESLEGGENOWTHATWEHAVEKNOWNTHEMAINIDEA,WEWILLCOMPARETHE
36、TWOVERSIONSOFTRANSLATIONABOVETOSEETHESIMILARITIESANDDIFFERENCEFIRST,LETSSEETHESIMILARITIESFROMTHETWOVERSIONS,WESEETHATTHEYBOTHTRANSLATED蔓草TOCREEPINGGRASS,WHICHREPRESENTEDTHELOVEBETWEENYOUTHS,ANDITWASSIMILARTOCREEPINGGRASSINWESTERNCOUNTRIESINTHISWAYTHEFOREIGNREADERSWILLUNDERSTANDTHEIMAGEANDEVENTHEPOE
37、MMOREEASILYANOTHERSIMILARITYISTHATBOTHOFTHEMWERETRANSLATEDINTOTWOSTANZAS,SIXLINESASTANZAWITHSENTENCESCLEARANDNEAT,WHICHWASCONSISTENTWITHTHEFORMOFTHEORIGINALCHINESEONETOACERTAINEXTENTBOTHVERSIONSMAKETHEMSELVESEASIERFORREADERSTOREADNEXTWEWILLTALKSOMETHINGDIFFERENTINTHESETWOVERSIONSFROMTHEVERSIONTRANSL
38、ATEDBYGLADYYANG,WECANSEETHATITTRANSLATED人TOGIRLDIRECTLY,WHICHMAKESUSKNOWCLEARLYTHATTHEAUTHORINTHISPOEMWASGIVINGADESCRIPTIONOFAMANSADMIRATIONANDLOVETOAGIRLSINCETHEWHOLEPOEMDEVELOPEDAROUNDTHEIMAGEOFCREEPINGGRASSANDAGIRL,ITWASSUITABLEANDACCEPTABLEFORUSTOTRANSLATEINTHISWAYHOWEVER,FROMTHEVERSIONBYLEGGE,W
39、EACQUIREDTHAT人HEREWASTRANSLATEDTOMAN,WHICHBECAMEVAGUEANDITWASDIFFICULTFORUSTOUNDERSTANDWHETHERMANWASAGIRLORAMANASWEKNOW,IMAGEINTHISPOEMWASCLOSELYCONNECTEDWITHTHEGIRL，THELEADINGROLESOTHISTRANSLATIONMAYMISLEADTHEREADER,ANDITSNOTACCEPTABLETOTHISPOINTTHEWORDSDELICATEANDCHARMINGCOMPAREDWITHTHEDIRECTDESCR
40、IPTIONCLEAREYESANDFINEFOREHEADINTHESECONDONEMAYHAVEADEEPERDEGREEANDEXTENT,ANDTHUSITCANNOTONLYMATCHTHEFORMBUTALSOBELOYALTOTHEORIGINALVERSIONSOTHEFIRSTONEWOULDBEBETTER742THEIMAGEOF“PLUM“MARRIAGEISAVERYHOTTOPICINTHEBOOKOFSONGSINTHEAGEOFZHOUDYNASTY，MARRIAGEISABASICELEMENTOFTHESOCIETY,FORFAMILYISESSENTIA
41、LFORTHESOCIETYMARRIAGE，WHICHCANLEGALLYGIVEMANANDWOMANAFAMILY,ISONEOFTHEMOSTIMPORTANTTHINGSINTHELIFEOFPEOPLESINCEWOMANSSTATUSINTHESOCIETYISLOWERTHANMANSATTHATTIME,THESIGNIFICANCEOFMARRIAGEISESPECIALLYIMPORTANTTOWOMANWHATSMORE,WEDDINGRELIESONBOTHAGEANDSEASONINANCIENTTIMEAGIRLWHOONCEGETSFIFTEENWILLBERE
42、GARDEDASANADULT，WHILEAFTERTWENTYWILLBETOOOLDTOBEMARRIEDMOREOVER,BECAUSEOFFREQUENTWARSATTHATTIME，MENAREALWAYSLESSTHANWOMENALLTHESEREASONSMAKEWOMAN,WHOHASNOTMARRIED，WORRYABOUTHERMARRIAGE，ESPECIALLYINTHEWEDDINGSEASON摞有梅摞有梅，其实七兮。求我庶士，迨其吉兮。揉有梅，其实三兮。求我庶士，迨其今兮。揉有梅，顷筐暨之。求我庶士，迨其谓之。THISPOEMDESCRIBESAGIRLWISHI
43、NGTOBELOVED,WHOSEWISHFORLOVEANDMARRIAGEISCOMPLETELYSHOWNTOUSASSOONASTHEGIRLSEESMOREANDMOREFRUITSDROPPINGFROMTHETREE，SHEBECOMESWORRIEDABOUTTHELOSINGOFHERYOUTHANDGETSMOREANDMOREANXIOUSTOGETMARRIEDSOSHEATFIRSTASKSTHEMANWHOLOVESHERTOCOURTHERONAGOODDAYINTHEFIRSTPART,ANDATLASTTELLHIMSTRAIGHTFORWARDINTHETH
44、IRDPARTWHENALLTHEFRUITSHAVEFALLENTHETHREEPARTSDEVELOPINAPROGRESSIVEWAY,ANDTHESONGREACHESITSCLIMAXINTHELASTPARTTHISPOEMVIVIDLYSHOWSASCENETHATAGIRL，WHOISWAITINGFORHERLOVERINAPSYCHOLOGYOFFROMBEINGHOPEFULTOBEINGDISAPPOINTED,ANDATTHESAMETIME，GIVESUSTHEDESCRIPTIONOFTHEMINDCHANGINGOFAGIRLFROMYOUNGTOTOOOLDT
45、OMARRYEACHWOMANMAYEXPERIENCETHISWORRYINEACHSPRING，ANDEVENINTHEIRWHOLEADOLESCENCETIMEPASSING，WOMANWILLBEMOREANDMOREWORRIEDFORHERMARRIAGEANDSHOWHERSINCEREHOPETOGETMARRIED,FORSHECANNOTWAITANYMOREASISMENTIONEDABOVE，PLANTSGENERALLYREPRESENTFEMALEINTHEBOOKOFSONGSWOMANSYOUTHPASSESJUSTLIKETHEFRUIT，FLOWER,OR
46、LEAFFALLINGFORTHESEASONSSAKEAGIRL,WHOISWISHINGTOMEETHERLOVER,WAITSFROMTHEBEGINNINGOFTHESPRINGTOTHEENDONCE8SHEDISCOVERSTHATTHEFRUITISFALLING，SHEKNOWSTHATSHEISBECOMINGOLDERANDOLDERATFIRST,SHEWANTSAGOODTIMETOGETMARRIED，BUTATLAST，SHECANGETMARRIEDIFONLYTHEMANSPEAKSTHEFALLINGFRUITGIVESUSANIMAGEOFTIMEPASSI
47、NG，ANDTHEANXIETYOFTHEGIRLISSTRONGERANDSTRONGERTIMEPASSINGQUICKLY,SHECANNOTCHOOSETHETIME，ANDCAREABOUTANYTHINGEVENTHEMARRIAGEITSELF,FORSHEHASNOTIMETOWASTEANYMOREANDSHEISNTYOUNGANYMOREPLOP,FALLTHEPLUMSOFTENONTHETREE,SEVENREMAINLETTHOSEWHOWOULDCOURTMECOMEBEFORETHELUCKYDAYSLIPSBYPLOP,FALLTHEPLUMSOFTENONT
48、HETREE,THREEREMAINFORTHOSEWHOWOULDCOURTMENOWISTHETIMEPLOP,FALLTHEPLUMSPLACETHEMINFLATBASKETSLETTHOSEWHOWOULDCOURTMECOMETOTHEGATHERING（杨宪益戴乃迭）RIPE,THEPLUMSFALLFROMTHEBOUGHONLYSEVENTENTHLEFTTHERENOWYETWHOSEHEARTONMEISSET,NOWTHETIMEISFORTUNERIPE,THEPLUMSFALLFROMTHEBOUGHONLYTHREETENTHLEFTTHERENOWYETWHOW
49、ISHMYLOVETOGAIN,9WILLNOTNOWAPPLYINVAINNOWMOREPLUMSUPONTHEBOUGHALLAREINMYBASKETNOWYETWHOMEWITHADORESEEK,NEEDTHEWORDBUTFREELYSPEAKTRJAMESLEGGETHEFIRSTVERSIONISSIMPLEANDVIVID,ANDITISLOYALTOTHEORIGINALMEANINGHOWEVER,THESECONDONEMAYBEALITTLELONGERTHANTHEFIRSTONEDURINGTHETRANSLATION,THEREARESOMESIMILARITIESANDDIFFERENCESINDEALINGWITHTHEIMAGENOWLETSTALKABOUTTHEBACKGROUNDANDSIMILARITIESFIRSTTHEIMAGEOFTHISPOEMISPLUM,WHICHISVERYSIMILARTOTHEIMAGEPLUMINWESTERNCOUNTRIESPLUMISRIPEINSPRING，WHICHISASEASONFORWEDDINGSOWHENWESEETHIS，THEIMAG
