Abstract  This thesis is based on the methods and principles of the translation of Chinese poetry and the existing theoretical achievements of the translation of Chinese poetry 。 As an case study of the translation of The Everlasting Regret, this paper deeply introduces the relationship between the readability and translatability of the translation and the form and requirements of their existence。 More importantly, we can find the trade-off between them and make our translation more and more thorough through this process as far as possible so that readers can better feel the original and the art of translation。85961

Keywords: readability; translatability; The Everlasting Regret

摘要本文以汉诗英译的方法、原则以及汉诗英译现有的理论成果为基础，以长恨歌的译本为具体分析对象，分别从不同的方面入手，深入透彻地了解翻译的可读性与可译性两者之间的关联以及各自存在的形式和要求，更重要的通过这个过程，尽可能的找出两者之间的权衡，使得翻译更加的透彻深入，让读者能够更好地感受原文，感受翻译的艺术。

毕业论文关键词：可读性；可译性；长恨歌

Contents

1。 Introduction 1

2。 Methods and principles of poetry translation 2

2。1 Literal translation and free translation 2

2。2 Faithfulness, expressiveness and elegance 2

3。 The readability of the translation of The Everlasting Regret 3

3。1 Introduction of the readability 3

3。2 Embodiment of the readability 3

4。 The translatability of the translation of The Everlasting Regret 4

4。1 Introduction of the translatability 4

4。2 The choice of rhetorical words 4

4。3 Semantic color words 8

4。4 Mood and modality 9

4。5 Level and center of gravity 10

5。 Conclusion 12

Works Cited 13

1。 Introduction

     In a strict sense, poetry is untranslatable because it is a highly concentrated, refined works of art。 In a certain cultural background, poetry written in certain symbols and its sound effects, visual effects and the effect of imagination produced in readers’ mind may be very different in another language。 However, broadly speaking, poetry is translatable while poem translated must be close to the original to a great extent。

     Foreign sinologists strive to overcome the language and cultural barriers, struggling to explore in the dark, to create a precedent for the study of Chinese poetry translation, to promote the cultural exchanges between China and the West。 The 19th century of the Riyadh, De Peisi and Zhai Magnus are collectively known as the "19th century British Sinology three constellations"。 Riyadh initially inclining to decipitate think that the translation should be as close as possible to the literal, no addition, do not paraphrase, but later he also launched his own “Book of Songs” rhyme translation。 De Peisi argued that " in order to truly appreciate Chinese poetry and other poems, verse is the translation of their form"。 And Zhai Magnus takes the form of literal rhyming。 (Xiong 4)

     The development of the translation of Chinese poetry is the last 20 years since the last century which mainly includes three aspects-----great discussion about metrical modern poetry or prose style focusing on “three beauty” proposed by Xu Yuanchong, the influence of the concept of translation on the idea of pluralistic interpretation of classical poetry and the question that who will translate the classical poetry。 (Zhuo 124)