The Aesthetic Transplantation Of Li Qingzhao’s Song Lyrics Translation

China is an ancient country with more than five thousand-year history of civilizations. Tang poems and Song lyrics is a bright pearl in the history of literature for their refined language, concise form and abound change of rhythm. Therefore, more and more people both at home and abroad began to study traditional Chinese culture. Li Qingzhao is a great master of the subtle and restrained school of Song lyrics for her elegant writing, smooth style and deeply emotion. The study of Li Qingzhao is also a hot topic among the traditional Chinese culture studies. Therefore, there sprang up a lot of scholars set about translating Li Qingzhao’s lyrics into different kinds of versions, which reproduce the aesthetic feelings of Li’s Song lyrics from different angles. And aesthetics is to study the science of beauty, which is closely linked with literature. Translation aesthetics is the combination of aesthetics and translation, which aims to study and analyze literary translated works by using aesthetics principles. Therefore, the translation of literary works is also the pursuit of truth, goodness and beauty. Professor Xu Yuanchong is a great scholar who has been devoted himself to the translation study for more than sixty years. He put forward his own translation theories “art of beautifulization, creation the best as rivalry”, which can be divided into four parts: theory of Ontology(Three Beauty), theory of Methodology(Three Transform), theory of Teleology(Three Zhi) and theory of Epistemology(Three Resemblance). Xu’s translation theories fully embody the aesthetic thinking, especially for his “three beauty” theory. All of his theories laid a solid foundation for translation practice.Nowadays, Masters’ theses and doctoral dissertations which study Li Qingzhao are sprung up. When input “Li Qingzhao” in the column of Masters’ theses and doctoral dissertations of CNKI, there are totally 1138 pieces by 2014, among which there are about 101 pieces to study the English versions of Li Qingzhao’s Song lyrics. And there are also a lot of theses to study the English versions from the perspective of Aesthetics. For example, Qi Jiajia’s Master’s thesis of Anhui University in 2014, the Artistic Conception Beauty in Translation of Li Qingzhao’s Song Lyrics from the Perspective of Translation Aesthetics; Li Qing’s doctoral dissertation of East China Normal University in 2005, A Contrastive Study on the Translations of Tz’u Poems by Li Qingzhao; Zhang Chunyu’s Master’s thesis of Shandong University in 2011, Research on English Translations of Li Qingzhao’s Ci Poetry from an Intertextual Perspective;Wu Jiaqian’s Master’s thesis of Fudan University in 2010, The Strategies for English Translations of Li Qingzhao’s Ci-Poems: A Comparative Study, etc.They all recreat the translation values of Li Qingzhao’s Song lyrics from different perspectives.This thesis attempts to study the aesthetic transplantation of Li Qingzhao’s Song lyrics translation from the perspective of Xu Yuanchong’s “three beauty” theory. The author holds that there are two kinds of beauty in Song lyrics, one is the subtle and restrained beauty, and another is the bold and unrestrained beauty.The former focuses on mild and indirect implicature, deep and deliberate structure, harmonious melody, elegant and beautiful language. However, the latter pays more attention to the strong artistic conception, sounds powerful with a tremendous momentum, and it contains a kind of masculinity. Li Qingzhao is the master of subtle and restrained school, whose works are full of subtle and restrained beauty. And this kind of beauty is not limited to the sense, sound, form, but gives a person the spiritual resonance; touches the person’s heart and makes him experience the graceful and restrained mood together with the poet. In this thesis, the author attempts to represent the beauty in translated versions of Li Qingzhao’s Song lyrics from the perspective of Xu Yuanchong’s “three beauty” and makes a comparison between the metrical versions and non-metrical versions to analyze their beauty in sense, sound and form through four typical master pieces of Li Qingzhao’s, aiming to prove that we’d better maintain the original rhythm and the strict form when translating. Only in this way can the subtle and restrained beauty of the original work could be realized; the motion of the original work could be truly reproducted, and its beauty could be felt by us to a great extent. Our Chinese classical culture can be truly carried forward to the world.