| Classical Chinese literature is generally associated with the use of words typically containing only one syllable and characterized by covert inflections. The literary context usually flows in word and article order. When classical Chinese poetry is written in abstract form, translating it into English can deplete the essence of the poem, thus rendering it uninteresting in its English translation. To overcome this difficulty, English translators of classical Chinese poetry usually emphasize transferring imagery in Chinese texts. This approach appears to be appropriate because many literary critics will agree that poetry is equally concerned with the creation of language and imagery.With the development of fuzzy linguistics at the end of the 1980s, Fuzzy aesthetics was set up, marked by the publication of Fuzzy Aesthetics written by Wang Mingju. The concept of fuzzy beauty is adopted and becomes the main object of fuzzy aesthetics with uncertainty as its main character. The classical Chinese poetry lays stress on imagery creation with abundant features of fuzzy beauty. In light of this, the author proposes that great importance should be attached to"transferring fuzzy beauty"in classical Chinese poetry translation.A classical Chinese poem can be compared to a painting in which images can mean different things to different observers. Therefore, the language and imagery employed are presented in fuzzy beauty, engaging the reader's imagination by invoking an aesthetic experience. The translator's task is to determine the poem's meaning and then to transfer the fuzzy and aesthetic imagery. The purpose of this research is to explore general principles of imagery translation in classical Chinese poetry by analyzing transference of imagery in different English versions of three classical Chinese poems.It is hoped that this thesis can provide a new perspective to the translation of classical Chinese poetry and broaden the scope of its criticism.
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