The Analysis of Cultural Images Translation in Li Qingzhao’s Ci—based on the Medio-translatology

The Analysis of Cultural Images Translation in Li Qingzhao’s Ci—based on the Medio-translatology | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Research Article The Analysis of Cultural Images Translation in Li Qingzhao’s Ci—based on the Medio-translatology Liang Cheng This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-7577574/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract The objective of this study is to examine the translation of cultural images in Zhu Manhua’s English version of Li Qingzhao’s Ci . Xie Tianzhen’s ( 1999 ) Medio-Translatology will be utilized to classify cultural images, analyze the translator’s creative treason, and explore the phenomenon of information transferring of cultural images from source language to target language. The findings of the study indicate that Xie Tianzhen’s manifestations of cultural image provides valuable guidance for categorizing the cultural images in this version. The results also reveal that only six out of creative treason’s nine strategies are identified in the research, while the other three are not identified, namely, relay-translation in conscious type, adaptation in conscious type, and omissions in unconscious type. Additionally, this research discovered the presence of another scenario, which is not presented in the Medio-translatology, except the loss, deformation, addition, and expansion phenomenon during the translation process, some data exist false loss phenomenon. Literature Cultural Studies Linguistics creative treason cultural image Medio-Translatology phenomenon of information transferring Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Introduction Ci (词), a classical Chinese poetic form originating from Sui-Tang folk melodies (Fong, 2014 ), evolved into structured verse with fixed meter and rhyme (Wang, 1989). Flourishing during the Song Dynasty (960–1279), it embodies China’s cultural essence through condensed imagery. Translating Ci demands careful treatment of its cultural images—symbols like plum blossoms or historical allusions—which convey emotions and cultural values. Xie Tianzhen’s ( 1999 ) concept of “cultural image” underscores their role in transmitting cultural uniqueness. Li Qingzhao, a Song Dynasty poetess, exemplifies this through her Ci, blending themes of love, patriotism, and femininity with rich cultural imagery. Despite extensive studies on her work, research analyzing her cultural image translation through Medio-translatology remains limited. This study applies Xie’s framework to classify Li’s cultural images, examine translator Zhu Manhua’s creative treason strategies, and explore phenomena of loss, deformation, addition, and expansion in cross-cultural transfer. Theoretical Framework The theoretical framework in the study is elicited mainly from Xie Tianzhen’s ( 1999 ) definition and manifestations of the cultural image, which provides the conceptual understanding of cultural image in the study. The definition and manifestations serve as a basis for identifying and analyzing cultural images in Zhu’s English version of Li’s Ci . Xie’s creative treason theory (1999) to analyze the translator’s strategy of cultural images in Zhu’s English version of Li’s Ci . Medio-Translatology (Xie, 1999) is employed for analyzing the phenomena of information transferring of cultural images. Cultural images and Classification In 1999, Xie Tianzhen first proposed the concept of “cultural image”. Culture image is formed in many thousand years of history in every nation, and “it is the crystallization of the long-term developing history and culture of different ethnics; some are closely related to national legends or totem worship. In all years of the long history of their ethnics, they continue to appear in the language of the people inside, and in literary and artistic works generation after generation. They slowly developed into a cultural symbol with a relatively fixed, a unique cultural meaning, some of which even have an extensive and far-reaching image association. When people mention it, they understand it tacitly and are good to communication.” (Xie, 1999, p. 180). Xie Tianzhen ( 2013 ) argued that cultural images have multiple manifestations. They can be plants, such as plums, orchids, bamboos and chrysanthemums in China, and olive trees, roses, and tulips in western countries. They can also be animals, or legendary birds and beasts, such as crows, magpie, cows, and dragon in China; and eagles, lions, dogs, bats in western countries. And they can be idioms, proverbs, and allusions. In China, there is Zhuge Liang (181A.D-234 A.D, Prime Minister of Shu Han during the Three Kingdoms Period, outstanding statesman, strategist, essayist, calligrapher, inventor) who is always the symbol of wisdom and in western countries, a saying goes that all the roads lead to Rome. “All the roads to Rome” means different ways to achieve a goal. A natural phenomenon can also be seen as a cultural image. For example, there are east wind, sunset, and moon in Chinese, but in the west, there is west wind, ocean, and forests. Numbers are given some cultural images such as three or eight in Chinese and seven or thirteen in English. Cultural images even contain a custom, etiquette, or a language expression, literary myths, etc, such as Chinese funeral marriage, sacrifice, and western worship; Chinese run-on sentence pattern, and English clause structure (Xie, 2013, p. 181). Based on these manifestations, cultural image is classified into three categories, namely, natural, social, and material images. An Introduction to Medio-translatology In the mid-1980s, a debate on remapping Chinese literature was initiated by Shanghai scholars Professor Chen Sihe and Professor Wang Xiaoming. The focus was on rewriting the history of contemporary Chinese literature. Professor Xie Tianzhen was very interested in this debate, so he submitted an article titled Finding a Home for an Outcast: On the Role of Translated Literature in the History of Modern Chinese Literature , suggesting that translated literature deserved a place in Chinese literature. The article attracted media attention, which immediately disseminated his view. Meanwhile, some scholars cast doubt on his opinion, arguing that “works by foreign writers should not be regarded as Chinese just because they were rendered into the Chinese language by translators”. Simultaneously, he observed some baffling phenomena in translation circles, particularly regarding literary translation, and contemplated them. One example was the stigmatization of Zhao Jingshen’s rendering of “Milky Way” into something meaning “a milk-soaked path” since Lu Xun’s (1881–1936, a famous writer, thinker, democracy warrior, an important participant in the May Fourth New Culture Movement, and the founder of modern Chinese literature.) railing against it half a century before. Professor Xie compared the original text with Zhao’s translation and found that his rendering fit the context much better than what is now widely accepted as appropriate. However, he urgently needed theoretical backing to rectify the misjudgments done to Zhao and to offer fresh perspectives on such phenomena. This sense of urgency prompted Professor Xie to search for explanations from a different perspective, marking the beginning of his research into Medio-translatology. Creative Treason in Medio-Translatology The concept of “creative treason”, coined by Robert Escarpit, posits translation as a dual act of betrayal and creativity. Escarpit argued that relocating a text into a new linguistic system inherently alters its cultural referents, yet simultaneously revitalizes it for fresh audiences (p. 137). Xie Tianzhen ( 1999 ) expanded this theory, emphasizing its centrality to literary translation and its inevitable cross-cultural distortions. While Escarpit focused on linguistic transposition, Xie highlighted cultural collisions, redefining creative treason as a mediator’s conscious or unconscious intervention to navigate form-content tensions, particularly acute in poetry due to its condensed structure (Xie, 1999, pp. 13–14, 137–138). Xie further categorized creative treason into: conscious and unconscious (Xie, 1999, p. 148) (see Fig. 1 ). Conscious translation refers to the translator’s deliberate awareness, intentionality, and responsiveness in rendering the source text, while unconscious translation occurs without full realization, often due to lack of cultural or linguistic understanding. As Xie (2018, p. 73) notes, “Compared with unconscious creative treason, conscious creative treason shows a more tense confrontation between the target culture and the source culture.” Translators may consciously alter literary imagery or adopt foreign models, either to accommodate target readers or introduce foreign elements. Personalized translation often reflects the translator’s style or gender, resulting in varying interpretations of the same text. This is commonly realized through two strategies: domestication, where the translation is naturalized to fit the target culture (e.g., Fu Donghua’s version of Gone with the Wind), and foreignization, which preserves foreign elements, sometimes at the cost of fluency (e.g., Mu Dan’s translation of T.S. Eliot’s poems). Most translation errors stem from unconscious creative treason, caused by misinterpretation or inadequate cultural knowledge, thus distorting cross-cultural communication (Xie, 1999, p. 153). Conscious errors, on the other hand, arise from deliberate adaptations to suit target readers or forcibly introduce foreign styles (Xie, 1999, p. 154). Omissions can also be conscious or unconscious. Unconscious omissions usually have minimal impact, whereas conscious omissions, also known as abridged translation, are intentional and often influenced by political, cultural, or ethical considerations (Xie, 1999, p. 156). Trans-editing, a form of abridged translation, involves restructuring or rewriting to clarify the plot and meet target audience preferences, often overlapping in function and purpose. Additionally, relay-translation and adaptation are categorized as special creative treason, involving “second-degree deformation” (Xie, 1999, p. 158). Relay-translation refers to indirect translation via an intermediary language, such as Ba Jin translating Russian works through English. Adaptation includes changes in genre or form, such as Lin Shu transforming Ibsen’s Ghosts into a classical Chinese novel. However, these strategies do not apply to Zhu Manhua’s complete English translation of Li Qingzhao’s poetry. Zhu avoided intermediary languages and genre transformation, aiming to preserve both poetic form and meaning. Therefore, this study will focus on personalized translation, errors and omissions, abridged translation, and trans-editing as manifestations of creative treason in Zhu’s translation of Li Qingzhao’s poetry. Research Objectives Three objectives that can be summarized in the following: A. To classify cultural images in Zhu Manhua’s English version of Li Qingzhao’s Ci ; B. To analyze translator’s creative treason of cultural images in Zhu Manhua’s English version of Li Qingzhao’s Ci ; C. To investigate the phenomenon in the transferring message from SL to TL in Zhu Manhua’s English version of Li Qingzhao’s Ci ; Research Methodology This research utilizes a document analysis approach to examine the translation of natural images in three key aspects: classification, the translator’s translation strategies, and phenomena in language conversion. The classification is conducted through an analysis based on Xie Tianzhen’s concept of cultural images and their manifestations. The translator’s translation strategies are evaluated using the theory of “creative treason” in the Medio-Translatology. This involves comparing the cultural images in the source text with their corresponding cultural meanings in the English translation, determining whether they align. Xie’s (1999) notion of creative treason encompasses both “conscious type” and “unconscious type” methods to evaluate the translator’s strategies. This includes personalized translation (domestication and foreignization), errors and omissions, abridged translation and trans-editing, relay-translation, and adaptation. The phenomena in language conversion are investigated based on Medio-Translatology, focusing on issues such as information loss, deformation, addition, and expansion during the language transfer process for each cultural image. Data Analysis A total of 249 cultural images were identified in Zhu Manhua’s (Zhu, 2018 ) English version, arranged in alphabetical order, and assigned unique numbers. There are 137 natural images, 61 social images and 51 material images (see Fig. 2 ). Due to word limit restrictions, here the author only providing examples of 47 natural images (see Table 1 ). Table 1 The Analysis of Cultural Images Source Text Transliteration Gloss Target Text Creative Treason Transferring Message compensation Natural Images Plant: Flowers 芙蓉( furong , lotus) 1.绣面 芙蓉 一笑开(p.18). xiumian fu rong yixiao kai Embroider face lotus one smile open. Her pretty face is like a broidered lotus with a smile Conscious type / personalized translation/domestication false loss +pretty 寒梅( hanmei , cold plum) 2. 寒梅 点缀琼枝腻(p. 8). hanmei dian zhui qiongzhi ni Cold plum is dotted with jade branches The cold plum blossom decorates twigs to be beautiful. Conscious type /personalized translation/domestication addition 红梅( hongmei , red plum) 3. 红梅 些子破(p. 25). hongmei xie zi po The red plums are broken A little bit red plum blossoms were open Conscious type /personalized translation/domestication addition 黄花 ( huanghua , yellow flower) 4.人比 黄花 瘦(p. 29). ren bi huang hua shou People are thinner than yellow flower My body is leaner than the flower in yellow Conscious type / foreignization expansion 5.满地 黄花 堆积(p. 53). man di huang hua duiji. yellow flower piles up all over the ground The ground full of flowers in yellow Conscious type / foreignization expansion 菊花( juhua , chrysanthemum) 6.莫负东篱 菊 蕊黄(p. 41). mofu dongli jurui huang Don’t be afraid of the East Fence chrysanthemum pistil yellow Than to let yellow daisy pistils in sad sigh. Conscious type /personalized translation/ domestication / 7.梅定妒, 菊 应羞。(p.24) Mei ding du, ju ying xiu. Plum Blossom must be jealous, chrysanthemum should be shy. Plum blossoms envy, chrysanthemum shameful. Conscious type /personalized translation/domestication / 江梅 (jiangmei , river-plums) 8. 江梅 已过柳生绵(p. 17). jiangmei yiguo liusheng mian river-plums go over willow grow silk floss. river-plums withered; catkins continuously float in the sky. Conscious type /personalized translation/foreignization / 9.手种 江梅 更好(p. 36). shouzhong jiangmei genghao It is better to plant river plums by hand. It is the plum blossoms I planted better than the other Conscious type /personalized translation/domestication / 梨花( lihua , pear flowers) 10. 人静皎月初斜,浸 梨花 (p. 66). Renjing jiaoyue chuxie,qin lihua People are quiet and oblique, soaking pear flowers The slanting moon still kept clear and bright, all of flowery pears immersed by the moonlight Conscious type /personalized translation/foreignization addition 11.雨打 梨花 深闭门(p. 75). yu da lihua shen bimen The rain hits the pear flower and the door is closed. The door shuts up, no rain drops stop. Falling on pear blossoms’ top Conscious type /personalized translation/domestication / 12.梨花 欲谢恐难禁(p. 16). lihua yuxie kong nanjin The pear flowers are about to wither, but it may be hard to stop them. It is hard to stop pear blossoms continuously fallen Conscious type /personalized translation/domestication / 莲子( lianzi , lotus seeds) 13.莲子 已成荷叶老 (p. 26). lianzi yicheng heye lao The lotus seeds have become old lotus leaves. lotus seeds ripe, the leafs old in yellow. Conscious type /personalized translation/domestication False loss +yellow 梅花( meihua , plum blossom) 14.故应难看 梅花 (p. 40). guying nankan meihua. Therefore, it should be difficult to see plum blossoms. It may be difficult to see the plum bloom much long. Conscious type /personalized translation/domestication False loss +It may be difficult to see. 15.梅花 鬓上残(p.13) meihua binshang can Plum blossom sideburns are broken. My hair-inserted’s plum blossom is not fresh. Conscious type /personalized translation/domestication False loss +My hair-inserted’s 16.年年雪里, 常插 梅花 醉(p.40) Nianian xueli,Changcha meihua zui In the snow every year, I often get drunk with plum blossoms Year by year, in snowing, plum blossoms bloom, happily inserting the blossom in bun hair I comb. Conscious type / personalized translation/domestication False loss +Happily, 17.挼尽 梅花 无好意(p. 40). Ruojin meihua wu haoyi Exhausting plum blossoms has no good intentions The plum blossoms’ soul seemed to be gone. Conscious type /personalized translation/domestication / 18. 梅 定妒, 菊应羞。 Mei ding du, ju ying xiu. Plum Blossom must be jealous, chrysanthemum should be shy. Plum blossoms envy, chrysanthemum shameful. Conscious type /personalized translation/domestication / 19柳眼 梅 腮 ( p. 23). Liuyan mei sai . willow eye plum cheek. Willows’ eyes opened; plum blossoms turned red again. Conscious type /personalized translation/domestication / 20.梅 萼插残枝 (p. 31). mei’ e cha canzhi. plum insert incomplete branch. A plum blossom was inserted in her hair-bun. Conscious type /personalized translation/domestication / 21. 梅蕊 重重何俗甚 (p.57). meirui chongchong hesu shen. How common are plum blossoms to be so heavy? Comparatively, plum blossoms are more vulgar than the sweet osmanthus of flower. Conscious type /personalized translation/domestication / 22 梅 蕊宫妆困 (p. 67) mei rui gongzhuang kun. plum palaces makeup be stranded. Few plum pistils can hardly let palace girls graceful. Conscious type /personalized translation/domestication / 23 梅 心惊破 (p. 34) Meixin jingpo Plum’s heart was shocked Let plum blossoms shocked suddenly Conscious type /personalized translation/domestication / 24晚风庭院落 梅 初(p.73) Wan feng tangyuan luo meichu The plum blossoms fall in the evening breeze courtyard. The breeze blows plum blossoms falling down early Conscious type /personalized translation/domestication / 木犀花( muxihua , sweet osmanthus flower) 25. 终日向人多酝藉, 木犀花 (p.58). Zhongri xiangren duo yunjie , muxihua Borrowing from many people all day long, sweet osmanthus flower. All day long, the mild drizzle let me comfort, the sweet osmanthus-flower, sweet! Conscious type /personalized translation/domestication addition 藕花( ouhua , lotus flower) 26.误入 藕花 深处(p. 10). wuru ouhua shenchu Wandering into the depths of lotus flowers. To take a wrong road where lotuses grow Conscious type /personalized translation/domestication / 27. 红藕 香残玉簟秋(p.21). hongou xiangcan yudian qiu The fragrant red lotus root leaves the jade mat in autumn. The fragrant red lotuses have withered away, my jade-like mat turns cool on antumn day Conscious type /personalized translation/foreignization expansion 28.翠贴莲蓬小,金销 藕叶 稀。(p.3) Cuitie lianpeng xiao, jinqiao ouye xi The green lotus pods are small, the gold-pinned lotus leaves are sparse. Lotus small seed pods like the emerald. Lotus roots grow up, green leaves turn yellow. Conscious type / personalized translation/domestication False loss +green leaves turn yellow 青梅( qingmei , green plum) 29.倚门回首, 却把 青梅 嗅 (p. 69). yimen huishou, queba qingmei xiu. Leaning against the door and looking back, I sniff the green plum. Looking back, I lean upon the gate, to sniff the plum blossom fragrant . Conscious type /personalized translation/foreignization addition 酴醾( tumi , roseleaf raspberry) 30.清芬酝籍, 不减 酴醾 (p. 11). qingfen yunji, bujian tumi The clear fragrance brews, without reducing the roseleaf raspberry. Everywhere was full of fragrant smell, not less than wild roses tasteful . Conscious type /trans-editing addition 杏花( xinghua , apricot blossom) 31.别到 杏花 肥(p.28) Biedao xinghua fei Don’t go to apricot blossom fertilizer Till the apricot is full of blossoms Conscious type / personalized translation/domestication / Trees and grass 芭蕉树( bajiaoshu , banana tree) 32.窗前谁种 芭蕉树? (p. 43). chuangqian shuizhong bajiaoshu Who planted banana trees in front of the window? Who planted the banana tree in front of the window? Conscious type /personalized translation/domestication / 丁香( dingxiang , clove) 33 丁香 千结苦粗生(p.57). dingxiang qianjie kucu sheng clove thousand tie bitter wide grow Thousands of cloves smell bitter Conscious type /personalized translation/domestication / 扶桑( fusang , large mulberry beyond the seas from which the sun rises) 34.爱景欲挂 扶桑(p. 49). aijing yugua fusang Love the scenery and hang large mulberry beyond the seas from which the sun rises The lovely scenery lay over a fairy tree Conscious type /trans-editing Expansion, deformation 海棠 ( haitang , Chinese flowering crab apple) 35.却道 海棠 依旧 (p. 9). quedao haitang yijiu But the Chinese flowering crabapple is still there. The crabapple trees bloom as usual Conscious type /personalized translation/domestication / 36.长记 海棠 开后(p. 30). changji hai tang kaihou After the long note Chinese flowering crabapple blooms Long memories of begonia being open Conscious type /personalized translation/foreignization deformation 六叶阶蓂( liuyejieming , six-leaf steps) 37. 六叶阶蓂 初秀(p. 49). liuyejieming chuxiu The first show of the six-leaf steps. the six-leaf grass grew up young. Conscious type /personalized translation/ foreignization loss 柳 ( liu , willow) 38.宠 柳 娇花寒食近(p. 45). chongliu jiaohua hanshi jin Pamper willows and flowers, eat cold food close by. willows mild, flowers lovely, It’s the coming Cold Food Holiday. Conscious type /personalized translation/domestication / 39. 柳 眼梅腮 ( p. 23). liu yan meisai Willow eyes and plum cheeks. Willows’ eyes opened; plum blossoms turned red again Conscious type /personalized translation/domestication addition 40.染 柳 烟浓(p.47) Ranliu yannong The willow smoke is thick The weeping willows seemed to be in green dye,to be shrouded by the mist under the blue sky. Conscious type / personalized translation/domestication expansion 41. 柳 梢梅萼渐分明(p.27) Liu shao meie jian fenming The calyx on the willow shoots becomes increasingly clear. The willow top and plum calyxes were clearly seen. Conscious type /personalized translation/domestication / 松椿 ( songchun , pine and the Chinese toon) 42.祝千龄, 借指 松椿 比寿(p. 49). zhu qianling, jiezhi songchun bishou I wish you a long life and use the pine and the Chinese toon tree to wish you a long life. Congratulate her long longevity, wish her to be like a great pine, ever growing up, green and lofty. conscious type/trans-editing expansion 梧桐 ( wutong , Chinese parasol-tree) 43. 梧桐 应恨夜来霜(p. 41). wutong yinghen yelai shuang Chinese parasol-tree s hould hate night frost The parasol-tree leaves seemed to hate frosty night Conscious type /personalized translation/domestication addition 44.西风催衬 梧桐 落(p. 44). xifeng cuichen wutong luo The west wind reminds the fallen Chinese parasol trees. The parasol tree leaves were fallen by the west wind-blow Conscious type /personalized translation/domestication addition 45.梧桐 更兼细雨(p. 53). wutong gengjian xiyu Chinese parasol-tree and the drizzle. The parasol-tree leaves clicked by the drizzle Conscious type /personalized translation/domestication addition 46.草际鸣蛩, 惊落 梧桐。 (p.32) Caoji ming qiong, jingluo wutong The cicadas sing in the grass, and the Chinese parasol-tree fall in fright. In grass, crickets chirp to make Indus lofty leaves fall low. Conscious type /error loss 47.新 桐 初引(p.45) Xintong chuyin The new Chinese parasol-tree are just beginning to grow The new parasol-like leaves begin to grow. Conscious type //personalized translation/domestication addition The Results of Creative Treason Analysis in Cultural Images By applying Xie’s creative treason theory, this study discovered that: in natural images, there are 99 conscious domestication translations, 22 conscious foreignization translations, 10 conscious trans-editing, 3 conscious abridged translation and 1 conscious error. Then, among 61 social images, there are 30 instances of conscious domestication translations, 18 conscious foreignization translations, 7 conscious trans-editing, 5 conscious abridged translations, and 1 unconscious error. Notably, conscious error and unconscious omission were not observed. Finally, 34 conscious domestication translations, 12 conscious foreignization translations, 3 conscious trans-editing and 2 conscious abridged translation were observed in the material images, while there were no instances of conscious error and unconscious types (see Figs. 3 and 4 ). Based on Figs. 3 and 4 , most of the data indicate a conscious type of creative treason, with only one data in the social images showing an unconscious type of creative treason. This result indicates that the translator tends to employ conscious acts of creative treason to better align with the target language culture and readership. With only one data showing unconscious creative treason, this suggests that the translation quality and accuracy of this edition remain very high. From Fig. 3 , it is evident that, within the conscious type, regardless of whether we are discussing natural, social, or material images, domestication is utilized the most often, with a staggering count of 165, constituting 66% of the total number of cultural images (249 in total). Following this is foreignization, accounting for 52 instances, making up 21% of the total. Subsequently, trans-editing is represented by 20 data, amounting to 8% of the total, while abridged translation comprises 10 instances, constituting 4%. Lastly, only one data demonstrates conscious error. Figure 5 displays the results of creative treason within natural images, where domestication is utilized the most often, with a substantial count of 101, constituting 74% of the total number of natural images (137 in total). Following this is foreignization, represented by 22 instances, making up 16% of the total. Subsequently, trans-editing amounts to 10 data points, amounting to 7% of the total, while abridged translation comprises 3 instances, accounting for 2%. Lastly, only one data point demonstrates conscious error, with zero data points for unconscious error and unconscious omission. In Fig. 6 , the predominant trend is the utilization of domestication, which is observed the most frequently, with a count of 30 instances, constituting 49% of the total number of social images (totaling 61). Following this trend is foreignization, represented by 18 instances, making up 30% of the total. Subsequently, trans-editing is depicted by 7 instances, amounting to 11% of the total, while abridged translation comprises 5 instances, accounting for 8%. Lastly, only one instance indicates an “unconscious error”, with no data points for conscious error and unconscious omission. In Fig. 7 , the analysis of material images demonstrates that domestication is the most frequently used strategy, accounting for 34 instances, constituting 67% of the total number of material images (totaling 51). Following this trend is foreignization, represented by 12 instances, making up 24% of the total. Subsequently, trans-editing is depicted by 3 instances, amounting to 6% of the total, while abridged translation comprises 2 instances, accounting for 4%. Lastly, there are no recorded instances for conscious error, unconscious error, or unconscious omission. The comparison of data as shown in Figs. 5 – 7 among natural images, social images, and material images reveals that domestication translation has the highest rate within natural images, reaching as high as 74%, this is primarily due to the following reasons: Cultural acceptance: domestication allows the use of familiar and commonplace natural vocabulary in the TL, making it easier for readers to comprehend. By translating natural images from the SL into concepts familiar in the TL, the TT becomes more readily accepted by readers in the target culture. Emotional resonance: natural image is often deeply intertwined with emotions and experiences. By employing common natural vocabulary in the TL, the translator can better convey the emotions embedded in the ST, thereby enhancing the resonance shared between readers and the text. Literary expression: domestication helps preserve the literary and artistic effects of the ST. Natural image in Ci is sometimes carefully selected and crafted. To maintain the ST’s artistic integrity, the translator may opt for natural vocabulary in the TL that aligns with the literary traditions of that language. Cultural symbolism: natural image frequently holds specific symbolic meanings within cultures. By using common natural vocabulary in the TL, translation can effectively convey the symbolic meanings present in the ST, ensuring that cultural elements are preserved and passed on. Aside from the prevalent use of domestication, the second most employed method is foreignization. Comparing Figs. 5 – 7 , social images exhibit a higher proportion of foreignization, accounting for 30%. The predominant use of foreignization in social images can be attributed to the following reasons: Firstly, cultural differences: Social imagery often involves specific cultural, historical, and societal contexts. To accurately convey the social imagery within the original poems, the translator may need to retain the unique language and cultural elements of the source culture. This may require employing foreignization to preserve the original cultural characteristics. Secondly, conveying cultural details: Social imagery frequently encompasses numerous subtle cultural intricacies and societal phenomena that might not have direct counterparts in the target language. Hence, it necessitates the use of foreignization in translation to explain or convert these details into forms understandable to readers in the TL. Thirdly, preserving the original style and emotions: Li Qingzhao’s Ci often contains profound emotions and a distinctive literary style. When translating social imagery, the translator may choose foreignization to better convey the emotional expressions and literary features of the original poems to maintain their emotional depth and artistic essence. From Figs. 5 – 7 , it is evident that trans-editing shows an upward trend particularly in relation to social images and compared to the natural and material images. The reason for this surge is that the “allusion” segment of social images mostly adopt trans-editing because allusions are references to specific cultural, historical, or literary elements that might not have direct equivalents in the TL. The trans-editing method allows translators to preserve the essence or intended meaning of the allusion while adapting it to the cultural context of the TL. It also involves a balance between literal translation and adaptation to ensure the allusion makes sense to the target readers. Upon further scrutiny of Figs. 5 – 7 , it becomes apparent that abridged translation experiences a noteworthy surge within social images, accounting for 8% of instances. In contrast, its occurrence is markedly lower, constituting 2% in natural images and 4% in material images. This discrepancy suggests that social imagery often incorporates intricate cultural references, subtle connotations, or historical backgrounds that may contain elements less familiar or relevant to the target readers. Abridged translation strategies aim to condense the content while retaining its essential meaning, effectively conveying its essence to the readers. However, in literary works like Li’s Ci , preserving the poetic rhythm and aesthetic elements from the original text holds significant importance. Abridged translation techniques might be employed to uphold the rhythm and aesthetic essence while ensuring the faithful transmission of the source’s meaning. The research has identified the presence of another scenario within creative treason, whereby any translation method from creative treason combined with the compensation strategy work together to achieve the perfect transmission of this cultural imagery. As mentioned, creative treason is dominantly domestication, foreignization, and trans-editing, while compensatory parts involve nouns, verbs or phrases, adjectives, structure, etc. On further examination this compensation strategy can be divided into three forms: firstly, compensation within the same verse of this Ci , namely, No. 1, No. 13, Nos. 14–16, No. 28, No. 69, No. 77, No. 81, No. 85, No. 149, No. 150, No. 172, No. 216, No. 217, No. 230, No. 237, No. 238, and No. 246. Second, compensation in the preceding and following lines of the Ci as in No. 61, No. 63, No. 76. Nos. 87–88, No. 91, Nos. 100–101, No. 164, No. 171, No. 173, No. 175, No. 220, No. 234, No. 235, No. 236, and No. 249. Third, compensation across the entire Ci and related words and phrase, such as No. 176 and No. 177. From a traditional poetic perspective, the appropriate use of creative treason in translating Li’s poems depicting cultural imagery (natural, social, and material) can be justified for the following reasons: In terms of melodic beauty: Creative treason encourages the introduction of innovative elements, breaking away from traditional rules. In the translation of natural, social, and material images, creative English vocabulary and expressions are utilized to better convey the melodic beauty of culture in the original poems. Adopting novel phonetic combinations adds layers to the translation, making it more nuanced and closer to the aesthetic preferences of contemporary readers. Regarding aesthetic imagery: In the treatment of aesthetic beauty, creative treason encourages the use of unique expressions. In the translation of cultural imagery, it employs creative adjectives and rhetorical devices to present the aesthetic beauty of culture found in the original poems. This innovation helps make the translation more contemporary and appealing, highlighting the modern facets of cultural expression. Concerning rhythmic beauty: creative treason encourages the introduction of innovations while maintaining the basic rhythm. In the translation of cultural imagery, it can moderately adjust the rhyme and rhythm of the poems, thereby infusing the English version with more variation and vitality. This approach aids in conveying the rhythmic charm inherent in the cultural imagery of the original poems, allowing readers to experience the diversity and richness of culture more profoundly. In summary, the use of creative treason in translating Li’s Ci poems depicting cultural imagery is appropriate as it introduces innovative expressions while preserving the essence of the original aesthetic. This innovative endeavor contributes to bringing classical literature closer to modern readers while retaining the timeless beauty of the poetry. The Results of Transferring Messages Analysis in Cultural Images In 137 natural image samples and, after analysis, the results of transferring messages are 16 deformations, 20 additions, 12 expansions, 3 losses, 18 false losses and 72 not involved. “False loss” is not explicitly mentioned in Medio-Translatology; it emerged from data analysis by the researcher as a significant finding in this study. In cultural equivalent translations, sometimes the direct conveyance of a cultural image or deeper meaning is not feasible. However, through creative adaptation and compensatory methods within the text, the loss can be addressed. Therefore, this phenomenon is not truly a loss, but rather termed as “false loss” by researcher. “Not involved” is also not explicitly mentioned in Medio-Translatology; it emerges from data analysis by the researcher. From the data results, it appears that not all data exhibit the four phenomena of loss, deformation, addition, and expansion during translation conversion. Some data do not involve these four phenomena in the translation process. The reason might be that not all data exhibit the phenomena of loss, deformation, addition, and expansion during the translation process. Also, some data may not involve these specific alterations, depending on the nature of the ST, the complexity of its vocabulary, syntax structures, and the translation approach chosen by the translator. At times, certain data might have a more direct correspondence or equivalence in translation, thereby not necessitating these specific types of alterations. By contrast with natural images, there are 19 deformations, 18 additions, 10 expansions, and 6 losses, 3 partial losses, 10 false losses, as well as 6 data not involved in social images. “Partial loss” is a further classification by the researcher based on data analysis, referring to the partial loss of information during the process of information transmission, rather than a complete loss of image. Furthermore, the results of transferring message of material images include 1 deformation, 7 additions, 4 expansions, 4 losses, 12 false losses and 29 not involved (see Fig. 8 ). As evidenced by Fig. 8 , the most notable variation is observed in the phenomenon “not involved”, which also holds the largest dataset (119), constituting 48% of the entire dataset (249 data). The phenomenon of “not involved” peaked in the natural images (total 72 data), then declined significantly in social images (6 data), and gradually rose again in material images (29 data). The numerical data suggests that the phenomena of “deformation” and “addition” exhibit a higher proportion respectively in the social images (19 data) and natural images (20 data), declining in material images. The phenomenon of “expansion” shows a decreasing trend from natural to social image and, finally, to material image. The phenomenon of “loss” exhibits a slight increase within social image, while only social image involves partial loss. Neither natural image nor material image involves this partial loss phenomenon. The phenomenon of “false loss” decreases from a numerical value of 18 in natural image to 10 in social image, and then rises again to a value of 12 in material image. Figure 9 displays the results of transferring messages within natural images. Because some data simultaneously exhibit two phenomena, all data related to the case must be included when calculating percentages. Therefore, the total data in Fig. 9 is 141, and the following percentages are calculated based on this total. The phenomenon “not involved” is utilized the most, with a substantial count of 72, constituting 50% of the total number of natural images (141 in total). Following this is addition, represented by 20 instances, making up 14% of the total. Subsequently, false loss is reaches 12 data points, amounting to 13% of the total, while deformation and expansion comprises 16 and 12 data, accounting for 11% and 9% respectively. Lastly, loss is presented by 3 data, with zero for partial loss. Figure 10 illustrates the outcomes of message transfer within social images. As some data simultaneously exhibit two phenomena, all relevant data must be considered when calculating percentages. Thus, the total data in Fig. 6.9 amounts to 72 and the subsequent percentages are derived from this overall figure. The dominant trends observed are the utilization of “deformation” and “addition”, represented by 19 and 18 instances, respectively constituting 26% and 25% of the total number of social images (totaling 72). Following this pattern are “expansion” and “false loss”, each represented by 10 instances, making up 14% of the total. Subsequently, “loss” and “not involved” are depicted by 6 instances, amounting to 8% of the total, while “partial loss” comprises 3 instances, accounting for 4%. Figure 11 illustrates the outcomes of message transfer within material images. As some data exhibit two phenomena simultaneously, all relevant data is considered when calculating percentages. Thus, the total data in Fig. 6.10 amounts to 57 while the subsequent percentages are derived from this overall figure. The analysis of material images reveals that “not involved” accounts for 29 instances, constituting 51% of the total number of material images (totaling 57). Following this trend is “false loss”, represented by 12 instances, making up 21% of the total. Subsequently, “addition” is depicted by 7 instances, amounting to 12% of the total, while both “expansion” and “loss” comprise 4 instances, each accounting for 7%. The least represented is “deformation”, with only 1 datum, accounting for 2%. Lastly, there are no recorded instances for “partial loss”. Figures 9 – 11 respectively represent the detailed data analysis results for the transferring message in natural, social, and material image. Upon comparison, the most significant variation is observed in the phenomenon “not involved”. Why did this occur? The following three reasons can answer this. Firstly, Abstraction in Natural Image: Translation of natural image often deals with more abstract and symbolic themes, which are less closely related to human social contexts. The translator tends to maintain objectivity and directness, avoiding excessive loss, deformation, addition, or expansion of the ST. Hence, the “not involved” phenomenon peaked during translation of natural image. Secondly, Complexity in Social Image: Social image involves themes directly related to language, etiquette, and customs, and literature. In translating such images, there might be more inclination to manipulate cultural images, possibly leading to more loss, deformation, addition, or expansion. Consequently, the “not involved” phenomenon shows a lower value during translation of social image. Thirdly, Specificity in Material Image: Material image may emphasize concrete objects or scenes, often lacking complex cultural connotations or emotions. The translator may tend to maintain objectivity, involving less loss, deformation, addition, or expansion of cultural images. Hence, the “not involved” phenomenon begins to rise again during this phase. Therefore, the fluctuation of the “not involved” phenomenon across different types of images in translation reflects the varied approaches and tendencies of the translator regarding the manipulation of cultural images in diverse textual contexts. The numerical data in Figs. 9 – 11 suggests that the phenomena of “deformation” and “addition” exhibit a higher proportion in the translation of natural images (11% and 14%) and social images (26% and 25%), declining in material images (2% and 12%). This might indicate that natural images and social images involve more cultural connotations, abstraction, and mention of human relations. The translator tends to employ more deformation or addition to convey the source meaning accurately. However, with material images emphasizing concrete descriptions and physical entities, the need for deformation or addition decreases. The phenomenon of “false loss” in material imagery accounts for 21%, higher than the 13% in natural imagery and 14% in social imagery. False loss is the important discovery of this research, and it could be termed as a form of false loss since the deep meaning or cultural image of the term is not entirely lost and can be conveyed through compensatory means in the text. In addition, one data not just represents one phenomenon, in other words, some data identified two phenomena when transferring message. In terms of the combination of addition and expansion, addition and deformation, there are several reasons for this: Firstly, when translating Ci , the translator may find it challenging to directly translate the intended meaning or emotions from the ST into the TL. Therefore, additional words or information might be necessary to convey the source context or emotions more accurately. The addition aims to expand readers’ understanding of the poetry, enriching its imagery and depth in the TL. Secondly, at times, certain cultural, historical, or region-specific expressions in the original work may not have direct equivalents in the TL. To facilitate readers’ better comprehension of the TL, the translator might modify the ST and include additional relevant information to adapt to the cultural and contextual nuances of the TL. This may lead to some deformation and addition of the ST during the translation process. Thirdly, preserving poetic elements: poetry relies heavily on sound, rhythm, and metaphor. The translator employed a combination of strategies to maintain the poetic elements, ensuring the translated work captures the original’s essence. Fourthly, creative freedom: the translator employed multiple strategies creatively to enhance the overall impact of the translated work. This could involve transforming certain elements while adding others to amplify the intended message. In essence, the decision to use multiple translation phenomena is driven by the need to convey the original work’s complexity, depth, and cultural nuances. By employing a combination of strategies, the translator can create a nuanced and faithful representation of the ST in the TL. Declarations Funded Projects :Ministry of Education Vocational College Education and Teaching Reform Project: “Research on Governance Policies of Online Language Use in University English Teaching under the Background of Artificial Intelligence” (2025JGYB045);2025 “14th Five-Year Plan” Special Project on “Reading and Teacher Development” by the Tao Xingzhi Research Association of China: “Application of Multimodal Generative AI in College English Creative Writing Teaching” (202513164JN);2024 Jilin Province Higher Education Research Project: “Exploration and Practice of ChatGPT in College English Translation Teaching”(JGJX24D1074). References Chen Qianfeng. (2009). An Analysis of the Translation of the Word “Yan” in Li Qingzhao’s “Slow Voice”, Journal of Xianning University, Vol. 29，No. I. Chen Lihong (2019). A Complete Review of Li Qingzhao’s Poems. Beijing: China Textile Press. Fong, Grace S. (2014). Wu Wenying and the Art of Southern Song Ci Poetry . Princeton University Press.Google Scholar. Hua Lingyan. (2010). A Study of the Cultural Imagery Translation of Hong Lou Meng’s Poetry--- A Perspective of Palmer’s Cultural Linguistics. MA thesis, Tianjing University of Finance and Economics, Tianjing. Li Liang. (2009). The C-E Translation of Cultural Image in Classical Chinese Poetry: A Perspective of Cultural-Specific Items . MA thesis, Central South University, Changsha. Pan Yun. (2012). Images Translation in Li Qingzhao's Lyrics: A Comparison of Two Versions by Xu Yuanchong, and Rexroth, Kenneth and Zhong Ling from Intertextual Perspective. MA thesis, Hunan University. Sun Yi. (2015) A Study on the Image Transplantation in Xu Yuanchong’s Translation of Li Qingzhao’s Poetry from the Perspective of Palmer’s Cultural Linguistics. MA thesis,Wuhan: Central China Normal University. Tang Cong (2019) Translation of Cultural Images in Literary Works from the Perspective of Gestalt Heterogeneous Isomorphism:with Reference to the English Versions of Li Qingzhao’s Ci Poems. MA thesis, Shanghai International Studies University. Wang Jiaosheng. (1989). The Complete Ci-poems of Li Qingzhao: A New English Translation, Victor H. Mair (Ed.), Sino-Platonic Papers. Department of East Asian Languages and Civilizations , University of Pennsylvania Philadelphia. Wu Lin. (2013). A Study on the Cultural Images Translated in Li Qingzhao ’ s Ci-poems: A Perspective of Domestication and Foreignization . MA thesis, Xi’an International Studies University. Xie Tianzhen. (1999). Medio-Translatology. Shanghai: Shanghai Foreign Language Education Press. Xie Tianzhen. (2013) Medio-Translatology (Revised Edition). Nanjing: Yilin Publishing House. Xie Tianzhen. (2018). Introduction to Medio-Translatology. Beijing: Peking University Press. Yin Miao. (2011). On the English Translation of Cultural Imagery in Li Qingzhao’s Shengshengman, Young Writer . Zhu Manhua (2018) Complete Collection of Li Qingzhao’s Poetry Translated by Manfield Zhu. Beijing: Commercial Press International Co., Ltd. Additional Declarations The authors declare no competing interests. Cite Share Download PDF Status: Posted Version 1 posted You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. As a division of Research Square Company, we’re committed to making research communication faster, fairer, and more useful. We do this by developing innovative software and high quality services for the global research community. Our growing team is made up of researchers and industry professionals working together to solve the most critical problems facing scientific publishing. Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-7577574","acceptedTermsAndConditions":true,"allowDirectSubmit":true,"archivedVersions":[],"articleType":"Research Article","associatedPublications":[],"authors":[{"id":512771882,"identity":"f5163533-31a9-47cc-a44f-20c1cf810097","order_by":0,"name":"Liang Cheng","email":"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAAzUlEQVRIiWNgGAWjYJCCAw8YJIAk84EDH34QqyUBrIUt8eDMHmKtSQBr5DE+zMFGhGr52c0PDyTUWOTx3cj5cJiBh0GeX+wAfi0Gd44ZHEg4JlEseSN3w+ECCwbDmbMTCGiRSDA4kNggkbgBpGUGD0OCwW0CWuRnpH+Aasl5cJiHjQgtDDdyYLbkMBCnxeBGTgHIL4kzzzwzAAayBGG/AB22+cOHmrrEvuPJjz98+GEjzy9NyGFwIABWKUGschDgP0CK6lEwCkbBKBhJAAD7gFBCoL493wAAAABJRU5ErkJggg==","orcid":"","institution":"Jilin International Studies University","correspondingAuthor":true,"prefix":"","firstName":"Liang","middleName":"","lastName":"Cheng","suffix":""}],"badges":[],"createdAt":"2025-09-10 01:03:21","currentVersionCode":1,"declarations":{"humanSubjects":false,"vertebrateSubjects":false,"conflictsOfInterestStatement":false,"humanSubjectEthicalGuidelines":false,"humanSubjectConsent":false,"humanSubjectClinicalTrial":false,"humanSubjectCaseReport":false,"vertebrateSubjectEthicalGuidelines":false},"doi":"10.21203/rs.3.rs-7577574/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-7577574/v1","draftVersion":[],"editorialEvents":[],"editorialNote":"","failedWorkflow":false,"files":[{"id":91078725,"identity":"3434f2ac-cb36-42d7-becb-5c38632e6d4e","added_by":"auto","created_at":"2025-09-11 11:20:59","extension":"png","order_by":1,"title":"Figure 1","display":"","copyAsset":false,"role":"figure","size":168405,"visible":true,"origin":"","legend":"\u003cp\u003eDetails of Creative Treason\u003c/p\u003e","description":"","filename":"Fig1.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/28ecf12ef293a6fc76a80c22.png"},{"id":91078727,"identity":"eacd5728-12de-4ed3-952f-9223d11b257e","added_by":"auto","created_at":"2025-09-11 11:20:59","extension":"png","order_by":2,"title":"Figure 2","display":"","copyAsset":false,"role":"figure","size":8063,"visible":true,"origin":"","legend":"\u003cp\u003eClassification of Cultural Images\u003c/p\u003e","description":"","filename":"Fig2.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/e8de0fdbd201a0aad44a946b.png"},{"id":91080447,"identity":"4b204950-d5d7-4ea7-9dfb-6ad57f6454c0","added_by":"auto","created_at":"2025-09-11 11:36:59","extension":"png","order_by":3,"title":"Figure 3","display":"","copyAsset":false,"role":"figure","size":79410,"visible":true,"origin":"","legend":"\u003cp\u003eAnalysis of Creative Treason of the Conscious Type\u003c/p\u003e","description":"","filename":"Fig3.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/c04dacd8eb0f1bd632ee1399.png"},{"id":91081657,"identity":"06455c84-21e9-4ed9-aa0a-0c864c70de5c","added_by":"auto","created_at":"2025-09-11 11:44:59","extension":"png","order_by":4,"title":"Figure 4","display":"","copyAsset":false,"role":"figure","size":38789,"visible":true,"origin":"","legend":"\u003cp\u003eAnalysis of Creative Treason of the Unconscious Type\u003c/p\u003e","description":"","filename":"Fig4.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/222adbeb6bb86423ac457ba7.png"},{"id":91078737,"identity":"40a993c0-d8fb-4ab4-9994-74f6ff54be70","added_by":"auto","created_at":"2025-09-11 11:20:59","extension":"png","order_by":5,"title":"Figure 5","display":"","copyAsset":false,"role":"figure","size":61032,"visible":true,"origin":"","legend":"\u003cp\u003eAnalysis of Creative Treason in Natural Images\u003c/p\u003e","description":"","filename":"Fig5.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/87cba8e67691b433c1c944a6.png"},{"id":91080022,"identity":"42b90f29-3b7c-42d9-af73-6b206f27fcd3","added_by":"auto","created_at":"2025-09-11 11:28:59","extension":"png","order_by":6,"title":"Figure 6","display":"","copyAsset":false,"role":"figure","size":61284,"visible":true,"origin":"","legend":"\u003cp\u003eAnalysis of Creative Treason in Social Images\u003c/p\u003e","description":"","filename":"Fig6.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/bb9303373d4b500693134152.png"},{"id":91080036,"identity":"fe16c541-abe1-40e7-8a98-5afaaa474fa0","added_by":"auto","created_at":"2025-09-11 11:28:59","extension":"png","order_by":7,"title":"Figure 7","display":"","copyAsset":false,"role":"figure","size":77080,"visible":true,"origin":"","legend":"\u003cp\u003eAnalysis of Creative Treason in Material Images\u003c/p\u003e","description":"","filename":"Fig7.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/65b0fb39a77020302e32699d.png"},{"id":91078749,"identity":"3aa64264-05aa-429c-a6b8-15d08817a334","added_by":"auto","created_at":"2025-09-11 11:20:59","extension":"png","order_by":8,"title":"Figure 8","display":"","copyAsset":false,"role":"figure","size":96412,"visible":true,"origin":"","legend":"\u003cp\u003eTransferring Messages Analysis\u003c/p\u003e","description":"","filename":"Fig8.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/1921fc06a7a132613e859149.png"},{"id":91078750,"identity":"44fe6fb2-04e4-456e-8963-48a1b9d5a838","added_by":"auto","created_at":"2025-09-11 11:20:59","extension":"png","order_by":9,"title":"Figure 9","display":"","copyAsset":false,"role":"figure","size":60238,"visible":true,"origin":"","legend":"\u003cp\u003eTransferring Messages Analysis in Natural Images\u003c/p\u003e","description":"","filename":"Fig9.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/d43528df5c14954fa9e981cf.png"},{"id":91080032,"identity":"b59b1b7d-8693-41b2-b33e-dc607308725c","added_by":"auto","created_at":"2025-09-11 11:28:59","extension":"png","order_by":10,"title":"Figure 10","display":"","copyAsset":false,"role":"figure","size":71154,"visible":true,"origin":"","legend":"\u003cp\u003eTransferring Messages Analysis in Social Images\u003c/p\u003e","description":"","filename":"Fig10.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/112cec5d3b244e231fa42805.png"},{"id":91078751,"identity":"c1c77c93-b1be-4c87-ba00-8c3ed836233d","added_by":"auto","created_at":"2025-09-11 11:20:59","extension":"png","order_by":11,"title":"Figure 11","display":"","copyAsset":false,"role":"figure","size":59199,"visible":true,"origin":"","legend":"\u003cp\u003eTransferring Messages Analysis in Material Images\u003c/p\u003e","description":"","filename":"Fig11.png","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/dc79c1fbf37800f0d47c94b7.png"},{"id":91081755,"identity":"9ace915a-0b05-4ac8-9d51-9d8a87211868","added_by":"auto","created_at":"2025-09-11 11:45:54","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":1922658,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-7577574/v1/ebee5402-0c35-45e2-b98e-102d54daaebe.pdf"}],"financialInterests":"The authors declare no competing interests.","formattedTitle":"\u003cp\u003eThe Analysis of Cultural Images Translation in Li Qingzhao’s Ci—based on the Medio-translatology\u003c/p\u003e","fulltext":[{"header":"Introduction","content":"\u003cp\u003e\u003cem\u003eCi\u003c/em\u003e (词), a classical Chinese poetic form originating from Sui-Tang folk melodies (Fong, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e2014\u003c/span\u003e), evolved into structured verse with fixed meter and rhyme (Wang, 1989). Flourishing during the Song Dynasty (960\u0026ndash;1279), it embodies China\u0026rsquo;s cultural essence through condensed imagery. Translating Ci demands careful treatment of its cultural images\u0026mdash;symbols like plum blossoms or historical allusions\u0026mdash;which convey emotions and cultural values. Xie Tianzhen\u0026rsquo;s (\u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e1999\u003c/span\u003e) concept of \u0026ldquo;cultural image\u0026rdquo; underscores their role in transmitting cultural uniqueness. Li Qingzhao, a Song Dynasty poetess, exemplifies this through her Ci, blending themes of love, patriotism, and femininity with rich cultural imagery. Despite extensive studies on her work, research analyzing her cultural image translation through Medio-translatology remains limited. This study applies Xie\u0026rsquo;s framework to classify Li\u0026rsquo;s cultural images, examine translator Zhu Manhua\u0026rsquo;s creative treason strategies, and explore phenomena of loss, deformation, addition, and expansion in cross-cultural transfer.\u003c/p\u003e"},{"header":"Theoretical Framework","content":"\u003cp\u003eThe theoretical framework in the study is elicited mainly from Xie Tianzhen\u0026rsquo;s (\u003cspan class=\"CitationRef\"\u003e1999\u003c/span\u003e) definition and manifestations of the cultural image, which provides the conceptual understanding of cultural image in the study. The definition and manifestations serve as a basis for identifying and analyzing cultural images in Zhu\u0026rsquo;s English version of Li\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e. Xie\u0026rsquo;s creative treason theory (1999) to analyze the translator\u0026rsquo;s strategy of cultural images in Zhu\u0026rsquo;s English version of Li\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e. Medio-Translatology (Xie, 1999) is employed for analyzing the phenomena of information transferring of cultural images.\u003c/p\u003e\n\u003cdiv id=\"Sec3\" class=\"Section2\"\u003e\n \u003ch2\u003eCultural images and Classification\u003c/h2\u003e\n \u003cp\u003eIn 1999, Xie Tianzhen first proposed the concept of \u0026ldquo;cultural image\u0026rdquo;. Culture image is formed in many thousand years of history in every nation, and \u0026ldquo;it is the crystallization of the long-term developing history and culture of different ethnics; some are closely related to national legends or totem worship. In all years of the long history of their ethnics, they continue to appear in the language of the people inside, and in literary and artistic works generation after generation. They slowly developed into a cultural symbol with a relatively fixed, a unique cultural meaning, some of which even have an extensive and far-reaching image association. When people mention it, they understand it tacitly and are good to communication.\u0026rdquo; (Xie, 1999, p. 180).\u003c/p\u003e\n \u003cp\u003eXie Tianzhen (\u003cspan class=\"CitationRef\"\u003e2013\u003c/span\u003e) argued that cultural images have multiple manifestations. They can be plants, such as plums, orchids, bamboos and chrysanthemums in China, and olive trees, roses, and tulips in western countries. They can also be animals, or legendary birds and beasts, such as crows, magpie, cows, and dragon in China; and eagles, lions, dogs, bats in western countries. And they can be idioms, proverbs, and allusions. In China, there is Zhuge Liang (181A.D-234 A.D, Prime Minister of Shu Han during the Three Kingdoms Period, outstanding statesman, strategist, essayist, calligrapher, inventor) who is always the symbol of wisdom and in western countries, a saying goes that all the roads lead to Rome. \u0026ldquo;All the roads to Rome\u0026rdquo; means different ways to achieve a goal. A natural phenomenon can also be seen as a cultural image. For example, there are east wind, sunset, and moon in Chinese, but in the west, there is west wind, ocean, and forests. Numbers are given some cultural images such as three or eight in Chinese and seven or thirteen in English. Cultural images even contain a custom, etiquette, or a language expression, literary myths, etc, such as Chinese funeral marriage, sacrifice, and western worship; Chinese run-on sentence pattern, and English clause structure (Xie, 2013, p. 181). Based on these manifestations, cultural image is classified into three categories, namely, natural, social, and material images.\u003c/p\u003e\n\u003c/div\u003e\n\u003ch3\u003eAn Introduction to Medio-translatology\u003c/h3\u003e\n\u003cp\u003eIn the mid-1980s, a debate on remapping Chinese literature was initiated by Shanghai scholars Professor Chen Sihe and Professor Wang Xiaoming. The focus was on rewriting the history of contemporary Chinese literature. Professor Xie Tianzhen was very interested in this debate, so he submitted an article titled \u003cem\u003eFinding a Home for an Outcast: On the Role of Translated Literature in the History of Modern Chinese Literature\u003c/em\u003e, suggesting that translated literature deserved a place in Chinese literature. The article attracted media attention, which immediately disseminated his view. Meanwhile, some scholars cast doubt on his opinion, arguing that \u0026ldquo;works by foreign writers should not be regarded as Chinese just because they were rendered into the Chinese language by translators\u0026rdquo;.\u003c/p\u003e\n\u003cp\u003eSimultaneously, he observed some baffling phenomena in translation circles, particularly regarding literary translation, and contemplated them. One example was the stigmatization of Zhao Jingshen\u0026rsquo;s rendering of \u0026ldquo;Milky Way\u0026rdquo; into something meaning \u0026ldquo;a milk-soaked path\u0026rdquo; since Lu Xun\u0026rsquo;s (1881\u0026ndash;1936, a famous writer, thinker, democracy warrior, an important participant in the May Fourth New Culture Movement, and the founder of modern Chinese literature.) railing against it half a century before. Professor Xie compared the original text with Zhao\u0026rsquo;s translation and found that his rendering fit the context much better than what is now widely accepted as appropriate. However, he urgently needed theoretical backing to rectify the misjudgments done to Zhao and to offer fresh perspectives on such phenomena. This sense of urgency prompted Professor Xie to search for explanations from a different perspective, marking the beginning of his research into Medio-translatology.\u003c/p\u003e\n\u003ch3\u003eCreative Treason in Medio-Translatology\u003c/h3\u003e\n\u003cp\u003eThe concept of \u0026ldquo;creative treason\u0026rdquo;, coined by Robert Escarpit, posits translation as a dual act of betrayal and creativity. Escarpit argued that relocating a text into a new linguistic system inherently alters its cultural referents, yet simultaneously revitalizes it for fresh audiences (p. 137). Xie Tianzhen (\u003cspan class=\"CitationRef\"\u003e1999\u003c/span\u003e) expanded this theory, emphasizing its centrality to literary translation and its inevitable cross-cultural distortions. While Escarpit focused on linguistic transposition, Xie highlighted cultural collisions, redefining creative treason as a mediator\u0026rsquo;s conscious or unconscious intervention to navigate form-content tensions, particularly acute in poetry due to its condensed structure (Xie, 1999, pp. 13\u0026ndash;14, 137\u0026ndash;138). Xie further categorized creative treason into: conscious and unconscious (Xie, 1999, p. 148) (see Fig. \u003cspan class=\"InternalRef\"\u003e1\u003c/span\u003e).\u003c/p\u003e\n\u003cp\u003eConscious translation refers to the translator\u0026rsquo;s deliberate awareness, intentionality, and responsiveness in rendering the source text, while unconscious translation occurs without full realization, often due to lack of cultural or linguistic understanding. As Xie (2018, p. 73) notes, \u0026ldquo;Compared with unconscious creative treason, conscious creative treason shows a more tense confrontation between the target culture and the source culture.\u0026rdquo; Translators may consciously alter literary imagery or adopt foreign models, either to accommodate target readers or introduce foreign elements.\u003c/p\u003e\n\u003cp\u003ePersonalized translation often reflects the translator\u0026rsquo;s style or gender, resulting in varying interpretations of the same text. This is commonly realized through two strategies: domestication, where the translation is naturalized to fit the target culture (e.g., Fu Donghua\u0026rsquo;s version of Gone with the Wind), and foreignization, which preserves foreign elements, sometimes at the cost of fluency (e.g., Mu Dan\u0026rsquo;s translation of T.S. Eliot\u0026rsquo;s poems).\u003c/p\u003e\n\u003cp\u003eMost translation errors stem from unconscious creative treason, caused by misinterpretation or inadequate cultural knowledge, thus distorting cross-cultural communication (Xie, 1999, p. 153). Conscious errors, on the other hand, arise from deliberate adaptations to suit target readers or forcibly introduce foreign styles (Xie, 1999, p. 154).\u003c/p\u003e\n\u003cp\u003eOmissions can also be conscious or unconscious. Unconscious omissions usually have minimal impact, whereas conscious omissions, also known as abridged translation, are intentional and often influenced by political, cultural, or ethical considerations (Xie, 1999, p. 156). Trans-editing, a form of abridged translation, involves restructuring or rewriting to clarify the plot and meet target audience preferences, often overlapping in function and purpose.\u003c/p\u003e\n\u003cp\u003eAdditionally, relay-translation and adaptation are categorized as special creative treason, involving \u0026ldquo;second-degree deformation\u0026rdquo; (Xie, 1999, p. 158). Relay-translation refers to indirect translation via an intermediary language, such as Ba Jin translating Russian works through English. Adaptation includes changes in genre or form, such as Lin Shu transforming Ibsen\u0026rsquo;s Ghosts into a classical Chinese novel.\u003c/p\u003e\n\u003cp\u003eHowever, these strategies do not apply to Zhu Manhua\u0026rsquo;s complete English translation of Li Qingzhao\u0026rsquo;s poetry. Zhu avoided intermediary languages and genre transformation, aiming to preserve both poetic form and meaning. Therefore, this study will focus on personalized translation, errors and omissions, abridged translation, and trans-editing as manifestations of creative treason in Zhu\u0026rsquo;s translation of Li Qingzhao\u0026rsquo;s poetry.\u003c/p\u003e\n\u003ch3\u003eResearch Objectives\u003c/h3\u003e\n\u003cp\u003eThree objectives that can be summarized in the following:\u003c/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c/span\u003e\u003c/p\u003e\n\u003cp\u003eA. To classify cultural images in Zhu Manhua\u0026rsquo;s English version of Li Qingzhao\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e;\u003c/p\u003e\u003cspan\u003e\n \u003cp\u003eB. To analyze translator\u0026rsquo;s creative treason of cultural images in Zhu Manhua\u0026rsquo;s English version of Li Qingzhao\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e;\u003c/p\u003e\n\u003c/span\u003e\u003cspan\u003e\n \u003cp\u003eC. To investigate the phenomenon in the transferring message from SL to TL in Zhu Manhua\u0026rsquo;s English version of Li Qingzhao\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e;\u003c/p\u003e\n\u003c/span\u003e\n\u003cp\u003e\u003c/p\u003e"},{"header":"Research Methodology","content":"\u003cp\u003eThis research utilizes a document analysis approach to examine the translation of natural images in three key aspects: classification, the translator\u0026rsquo;s translation strategies, and phenomena in language conversion. The classification is conducted through an analysis based on Xie Tianzhen\u0026rsquo;s concept of cultural images and their manifestations. The translator\u0026rsquo;s translation strategies are evaluated using the theory of \u0026ldquo;creative treason\u0026rdquo; in the Medio-Translatology. This involves comparing the cultural images in the source text with their corresponding cultural meanings in the English translation, determining whether they align. Xie\u0026rsquo;s (1999) notion of creative treason encompasses both \u0026ldquo;conscious type\u0026rdquo; and \u0026ldquo;unconscious type\u0026rdquo; methods to evaluate the translator\u0026rsquo;s strategies. This includes personalized translation (domestication and foreignization), errors and omissions, abridged translation and trans-editing, relay-translation, and adaptation. The phenomena in language conversion are investigated based on Medio-Translatology, focusing on issues such as information loss, deformation, addition, and expansion during the language transfer process for each cultural image.\u003c/p\u003e\u003cdiv id=\"Sec8\" class=\"Section2\"\u003e\u003ch2\u003eData Analysis\u003c/h2\u003e\u003cp\u003eA total of 249 cultural images were identified in Zhu Manhua\u0026rsquo;s (Zhu, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e2018\u003c/span\u003e) English version, arranged in alphabetical order, and assigned unique numbers. There are 137 natural images, 61 social images and 51 material images (see Fig.\u0026nbsp;\u003cspan refid=\"Fig2\" class=\"InternalRef\"\u003e2\u003c/span\u003e). Due to word limit restrictions, here the author only providing examples of 47 natural images (see Table\u003cspan refid=\"Tab1\" class=\"InternalRef\"\u003e1\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab1\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 1\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eThe Analysis of Cultural Images\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"7\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c7\" colnum=\"7\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eSource Text\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eTransliteration\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eGloss\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eTarget Text\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003eCreative Treason\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c6\"\u003e\u003cp\u003eTransferring Message\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c7\"\u003e\u003cp\u003ecompensation\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003eNatural Images\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003ePlant: Flowers\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e芙蓉(\u003c/b\u003e\u003cb\u003efurong\u003c/b\u003e, \u003cb\u003elotus)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1.绣面\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e芙蓉\u003c/span\u003e一笑开(p.18).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003exiumian\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003efu rong\u003c/span\u003e \u003cem\u003eyixiao kai\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eEmbroider face \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003elotus\u003c/span\u003e one smile open.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eHer pretty face is like a broidered \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003elotus\u003c/span\u003e with a smile\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type / personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003efalse loss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e+pretty\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e寒梅(\u003c/b\u003e\u003cb\u003ehanmei\u003c/b\u003e, \u003cb\u003ecold plum)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e寒梅\u003c/span\u003e点缀琼枝腻(p. 8).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ehanmei\u003c/span\u003e \u003cem\u003edian zhui qiongzhi ni\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eCold plum\u003c/span\u003e is dotted with jade branches\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe cold plum blossom\u003c/span\u003e decorates twigs to be beautiful.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e红梅(\u003c/b\u003e\u003cb\u003ehongmei\u003c/b\u003e, \u003cb\u003ered plum)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e红梅\u003c/span\u003e些子破(p. 25).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003ehongmei xie zi po\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe red plums\u003c/span\u003e are broken\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eA little bit \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ered plum blossoms\u003c/span\u003e were open\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e黄花 (\u003c/b\u003e\u003cb\u003ehuanghua\u003c/b\u003e, \u003cb\u003eyellow flower)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4.人比\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e黄花\u003c/span\u003e瘦(p. 29).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eren bi\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ehuang hua\u003c/span\u003e \u003cem\u003eshou\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003ePeople are thinner than \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eyellow flower\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eMy body is leaner than \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ethe flower in yellow\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type / foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eexpansion\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5.满地\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e黄花\u003c/span\u003e堆积(p. 53).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eman di\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ehuang hua\u003c/span\u003e \u003cem\u003eduiji.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eyellow flower\u003c/span\u003e piles up all over the ground\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe ground full of \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eflowers in yellow\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type / foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eexpansion\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e菊花(\u003c/b\u003e\u003cb\u003ejuhua\u003c/b\u003e, \u003cb\u003echrysanthemum)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e6.莫负东篱\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e菊\u003c/span\u003e蕊黄(p. 41).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003emofu dongli jurui huang\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eDon\u0026rsquo;t be afraid of the East Fence \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003echrysanthemum\u003c/span\u003e pistil yellow\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThan to let yellow \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003edaisy\u003c/span\u003e pistils in sad sigh.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/ domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e7.梅定妒, \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e菊\u003c/span\u003e应羞。(p.24)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eMei ding du, ju ying xiu.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003ePlum Blossom must be jealous, \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003echrysanthemum\u003c/span\u003e should be shy.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003ePlum blossoms envy, \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003echrysanthemum\u003c/span\u003e shameful.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e江梅\u003c/b\u003e\u003cb\u003e(jiangmei\u003c/b\u003e, \u003cb\u003eriver-plums)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e8.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e江梅\u003c/span\u003e已过柳生绵(p. 17).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003ejiangmei yiguo liusheng mian\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eriver-plums\u003c/span\u003e go over willow grow silk floss.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eriver-plums\u003c/span\u003e withered; catkins continuously float in the sky.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e9.手种\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e江梅\u003c/span\u003e更好(p. 36).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eshouzhong\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ejiangmei\u003c/span\u003e \u003cem\u003egenghao\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eIt is better to plant \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eriver plums\u003c/span\u003e by hand.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eIt is the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e I planted better than the other\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e梨花(\u003c/b\u003e \u003cb\u003elihua\u003c/b\u003e, \u003cb\u003epear flowers)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e10. 人静皎月初斜,浸\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梨花\u003c/span\u003e(p. 66).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eRenjing jiaoyue chuxie,qin\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003elihua\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003ePeople are quiet and oblique, soaking \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003epear flowers\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe slanting moon still kept clear and bright, all of \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eflowery pears\u003c/span\u003e immersed by the moonlight\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e11.雨打\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梨花\u003c/span\u003e深闭门(p. 75).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eyu da\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003elihua\u003c/span\u003e \u003cem\u003eshen bimen\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe rain hits the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003epear flower\u003c/span\u003e and the door is closed.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe door shuts up, no rain drops stop. Falling on \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003epear blossoms\u0026rsquo;\u003c/span\u003e top\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e12.梨花\u003c/span\u003e欲谢恐难禁(p. 16).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003elihua\u003c/span\u003e \u003cem\u003eyuxie kong nanjin\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003epear flowers\u003c/span\u003e are about to wither, but it may be hard to stop them.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eIt is hard to stop \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003epear blossoms\u003c/span\u003e continuously fallen\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e莲子(\u003c/b\u003e\u003cb\u003elianzi\u003c/b\u003e, \u003cb\u003elotus seeds)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e13.莲子\u003c/span\u003e已成荷叶老 (p. 26).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003elianzi\u003c/span\u003e \u003cem\u003eyicheng heye lao\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe lotus seeds\u003c/span\u003e have become old lotus leaves.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003elotus seeds\u003c/span\u003e ripe, the leafs old in yellow.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eFalse loss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e+yellow\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e梅花(\u003c/b\u003e\u003cb\u003emeihua\u003c/b\u003e, \u003cb\u003eplum blossom)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e14.故应难看\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅花\u003c/span\u003e(p. 40).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eguying nankan\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003emeihua.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eTherefore, it should be difficult to see \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eIt may be difficult to see the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum\u003c/span\u003e bloom much long.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eFalse loss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e+It may be difficult to see.\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e15.梅花\u003c/span\u003e鬓上残(p.13)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003emeihua binshang can\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ePlum blossom\u003c/span\u003e sideburns are broken.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eMy hair-inserted\u0026rsquo;s \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossom\u003c/span\u003e is not fresh.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eFalse loss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e+My hair-inserted\u0026rsquo;s\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e16.年年雪里, 常插\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅花\u003c/span\u003e醉(p.40)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eNianian xueli,Changcha meihua zui\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eIn the snow every year, I often get drunk with \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eYear by year, in snowing, \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e bloom, happily inserting the blossom in bun hair I comb.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type / personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eFalse loss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e+Happily,\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e17.挼尽\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅花\u003c/span\u003e无好意(p. 40).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eRuojin meihua wu haoyi\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eExhausting \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e has no good intentions\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u0026rsquo;\u003c/span\u003e soul seemed to be gone.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e18.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅\u003c/span\u003e定妒, 菊应羞。\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eMei ding du, ju ying xiu.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ePlum Blossom\u003c/span\u003e must be jealous, chrysanthemum should be shy.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ePlum blossoms\u003c/span\u003e envy, chrysanthemum shameful.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e19柳眼\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅\u003c/span\u003e腮\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e(\u003c/span\u003ep. 23).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eLiuyan\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003emei\u003c/span\u003e\u003cem\u003esai\u003c/em\u003e.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003ewillow eye \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum\u003c/span\u003e cheek.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eWillows\u0026rsquo; eyes opened; \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e turned red again.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e20.梅\u003c/span\u003e萼插残枝 (p. 31).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003emei\u0026rsquo;\u003c/span\u003e\u003cem\u003ee cha canzhi.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum\u003c/span\u003e insert incomplete branch.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eA plum blossom\u003c/span\u003e was inserted in her hair-bun.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e21.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅蕊\u003c/span\u003e重重何俗甚 (p.57).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003emeirui\u003c/span\u003e \u003cem\u003echongchong hesu shen.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eHow common are \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e to be so heavy?\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eComparatively, \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e are more vulgar than the sweet osmanthus of flower.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e22\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅\u003c/span\u003e蕊宫妆困 (p. 67)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003emei\u003c/span\u003e\u003cem\u003erui gongzhuang kun.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum\u003c/span\u003e palaces makeup be stranded.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eFew \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum\u003c/span\u003e pistils can hardly let palace girls graceful.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e23\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅\u003c/span\u003e心惊破 (p. 34)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eMeixin jingpo\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ePlum\u0026rsquo;s\u003c/span\u003e heart was shocked\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eLet \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e shocked suddenly\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e24晚风庭院落\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梅\u003c/span\u003e初(p.73)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eWan feng tangyuan luo meichu\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe plum blossoms\u003c/span\u003e fall in the evening breeze courtyard.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe breeze blows \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossoms\u003c/span\u003e falling down early\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e木犀花(\u003c/b\u003e\u003cb\u003emuxihua\u003c/b\u003e, \u003cb\u003esweet osmanthus flower)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e25. 终日向人多酝藉,\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e木犀花\u003c/span\u003e(p.58).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eZhongri xiangren duo yunjie\u003c/em\u003e, \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003emuxihua\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eBorrowing from many people all day long, \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003esweet osmanthus flower.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eAll day long, the mild drizzle let me comfort, \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ethe sweet osmanthus-flower, sweet!\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e藕花(\u003c/b\u003e\u003cb\u003eouhua\u003c/b\u003e, \u003cb\u003elotus flower)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e26.误入\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e藕花\u003c/span\u003e深处(p. 10).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003ewuru\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003eouhua\u003c/span\u003e \u003cem\u003eshenchu\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eWandering into the depths of \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003elotus flowers.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eTo take a wrong road where \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003elotuses\u003c/span\u003e grow\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e27.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e红藕\u003c/span\u003e香残玉簟秋(p.21).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ehongou\u003c/span\u003e \u003cem\u003exiangcan yudian qiu\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe fragrant \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ered lotus\u003c/span\u003e root leaves the jade mat in autumn.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe fragrant \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ered lotuses\u003c/span\u003e have withered away, my jade-like mat turns cool on antumn day\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eexpansion\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e28.翠贴莲蓬小,金销\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e藕叶\u003c/span\u003e稀。(p.3)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003eCuitie lianpeng xiao, jinqiao ouye xi\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe green lotus pods are small, the gold-pinned \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003elotus\u003c/span\u003e leaves are sparse.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eLotus small seed pods like the emerald. \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eLotus\u003c/span\u003e roots grow up, green leaves turn yellow.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type / personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eFalse loss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e+green leaves turn yellow\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e青梅(\u003c/b\u003e\u003cb\u003eqingmei\u003c/b\u003e, \u003cb\u003egreen plum)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e29.倚门回首, 却把\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e青梅\u003c/span\u003e嗅 (p. 69).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eyimen huishou, queba\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003eqingmei\u003c/span\u003e \u003cem\u003exiu.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eLeaning against the door and looking back, I sniff the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003egreen plum.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eLooking back, I lean upon the gate, to sniff the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eplum blossom fragrant\u003c/span\u003e.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e酴醾(\u003c/b\u003e\u003cb\u003etumi\u003c/b\u003e, \u003cb\u003eroseleaf raspberry)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e30.清芬酝籍, 不减\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e酴醾\u003c/span\u003e(p. 11).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eqingfen yunji, bujian\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003etumi\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe clear fragrance brews, without reducing the roseleaf raspberry.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eEverywhere was full of fragrant smell, not less than \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ewild roses tasteful\u003c/span\u003e.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /trans-editing\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e杏花(\u003c/b\u003e\u003cb\u003exinghua\u003c/b\u003e, \u003cb\u003eapricot blossom)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e31.别到\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e杏花\u003c/span\u003e肥(p.28)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eBiedao\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003exinghua\u003c/span\u003e \u003cem\u003efei\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eDon\u0026rsquo;t go to \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eapricot blossom\u003c/span\u003e fertilizer\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eTill the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eapricot\u003c/span\u003e is full of \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eblossoms\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type / personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003eTrees and grass\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e芭蕉树(\u003c/b\u003e\u003cb\u003ebajiaoshu\u003c/b\u003e, \u003cb\u003ebanana tree)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e32.窗前谁种\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e芭蕉树?\u003c/span\u003e(p. 43).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003echuangqian shuizhong bajiaoshu\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eWho planted banana \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003etrees\u003c/span\u003e in front of the window?\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eWho planted the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ebanana tree\u003c/span\u003e in front of the window?\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e丁香(\u003c/b\u003e\u003cb\u003edingxiang\u003c/b\u003e, \u003cb\u003eclove)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e33\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e丁香\u003c/span\u003e千结苦粗生(p.57).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003edingxiang\u003c/span\u003e \u003cem\u003eqianjie kucu sheng\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eclove\u003c/span\u003e thousand tie bitter wide grow\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThousands of \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ecloves\u003c/span\u003e smell bitter\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e扶桑(\u003c/b\u003e\u003cb\u003efusang\u003c/b\u003e, \u003cb\u003elarge mulberry beyond the seas from which the sun rises)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e34.爱景欲挂\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e扶桑(p. 49).\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eaijing yugua\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003efusang\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eLove the scenery and hang large \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003emulberry beyond the seas from which the sun rises\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe lovely scenery lay over a \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003efairy tree\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /trans-editing\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eExpansion, deformation\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e海棠 (\u003c/b\u003e\u003cb\u003ehaitang\u003c/b\u003e, \u003cb\u003eChinese flowering crab apple)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e35.却道\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e海棠\u003c/span\u003e依旧 (p. 9).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003equedao\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ehaitang\u003c/span\u003e \u003cem\u003eyijiu\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eBut the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eChinese flowering crabapple\u003c/span\u003e is still there.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ecrabapple trees\u003c/span\u003e bloom as usual\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e36.长记\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e海棠\u003c/span\u003e开后(p. 30).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003echangji\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ehai tang\u003c/span\u003e \u003cem\u003ekaihou\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eAfter the long note \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eChinese flowering crabapple\u003c/span\u003e blooms\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eLong memories of \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ebegonia\u003c/span\u003e being open\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003edeformation\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e六叶阶蓂(\u003c/b\u003e\u003cb\u003eliuyejieming\u003c/b\u003e, \u003cb\u003esix-leaf steps)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e37.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e六叶阶蓂\u003c/span\u003e初秀(p. 49).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003eliuyejieming\u003c/span\u003e \u003cem\u003echuxiu\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe first show of the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003esix-leaf steps.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ethe six-leaf grass\u003c/span\u003e grew up young.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/ foreignization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eloss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e柳 (\u003c/b\u003e\u003cb\u003eliu\u003c/b\u003e, \u003cb\u003ewillow)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e38.宠\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e柳\u003c/span\u003e娇花寒食近(p. 45).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003echongliu\u003c/span\u003e \u003cem\u003ejiaohua hanshi jin\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003ePamper \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ewillows\u003c/span\u003e and flowers, eat cold food close by.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ewillows\u003c/span\u003e mild, flowers lovely, It\u0026rsquo;s the coming Cold Food Holiday.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e39.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e柳\u003c/span\u003e眼梅腮\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e(\u003c/span\u003ep. 23).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003eliu\u003c/span\u003e\u003cem\u003eyan\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003emeisai\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eWillow\u003c/span\u003e eyes and plum cheeks.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eWillows\u0026rsquo;\u003c/span\u003e eyes opened; plum blossoms turned red again\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e40.染\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e柳\u003c/span\u003e烟浓(p.47)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003eRanliu yannong\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ewillow\u003c/span\u003e smoke is thick\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe weeping willows\u003c/span\u003e seemed to be in green dye,to be shrouded by the mist under the blue sky.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type / personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eexpansion\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e41.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e柳\u003c/span\u003e梢梅萼渐分明(p.27)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003eLiu\u003c/span\u003e\u003cem\u003eshao meie jian fenming\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe calyx on the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ewillow\u003c/span\u003e shoots becomes increasingly clear.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ewillow\u003c/span\u003e top and plum calyxes were clearly seen.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e/\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e松椿 (\u003c/b\u003e\u003cb\u003esongchun\u003c/b\u003e, \u003cb\u003epine and the Chinese toon)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e42.祝千龄, 借指\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e松椿\u003c/span\u003e比寿(p. 49).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003ezhu qianling, jiezhi\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003esongchun\u003c/span\u003e \u003cem\u003ebishou\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eI wish you a long life and use the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003epine and the Chinese toon tree\u003c/span\u003e to wish you a long life.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eCongratulate her long longevity, wish her to be like \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003ea great pine, ever growing up, green and lofty.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003econscious type/trans-editing\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eexpansion\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colspan=\"6\" nameend=\"c6\" namest=\"c1\"\u003e\u003cp\u003e\u003cb\u003e梧桐 (\u003c/b\u003e\u003cb\u003ewutong\u003c/b\u003e, \u003cb\u003eChinese parasol-tree)\u003c/b\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e43.\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梧桐\u003c/span\u003e应恨夜来霜(p. 41).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ewutong\u003c/span\u003e \u003cem\u003eyinghen yelai shuang\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eChinese parasol-tree s\u003c/span\u003ehould hate night frost\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe parasol-tree leaves\u003c/span\u003e seemed to hate frosty night\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e44.西风催衬\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梧桐\u003c/span\u003e落(p. 44).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003exifeng cuichen\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ewutong\u003c/span\u003e \u003cem\u003eluo\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe west wind reminds the fallen \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eChinese parasol trees.\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe parasol tree leaves\u003c/span\u003e were fallen by the west wind-blow\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e45.梧桐\u003c/span\u003e更兼细雨(p. 53).\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ewutong\u003c/span\u003e \u003cem\u003egengjian xiyu\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eChinese parasol-tree\u003c/span\u003e and the drizzle.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eThe parasol-tree leaves\u003c/span\u003e clicked by the drizzle\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e46.草际鸣蛩, 惊落\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e梧桐。\u003c/span\u003e(p.32)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eCaoji ming qiong, jingluo\u003c/em\u003e \u003cspan type=\"ItalicUnderline\" class=\"ItalicUnderline\" name=\"Emphasis\"\u003ewutong\u003c/span\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe cicadas sing in the grass, and the \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eChinese parasol-tree\u003c/span\u003e fall in fright.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eIn grass, crickets chirp to make \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eIndus lofty leaves\u003c/span\u003e fall low.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type /error\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eloss\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e47.新\u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003e桐\u003c/span\u003e初引(p.45)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eXintong chuyin\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eThe new \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eChinese parasol-tree\u003c/span\u003e are just beginning to grow\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe new \u003cspan type=\"Underline\" class=\"Underline\" name=\"Emphasis\"\u003eparasol-like leaves\u003c/span\u003e begin to grow.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eConscious type //personalized translation/domestication\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003eaddition\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u0026nbsp;\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\n\u003ch3\u003eThe Results of Creative Treason Analysis in Cultural Images\u003c/h3\u003e\n\u003cp\u003eBy applying Xie\u0026rsquo;s creative treason theory, this study discovered that: in natural images, there are 99 conscious domestication translations, 22 conscious foreignization translations, 10 conscious trans-editing, 3 conscious abridged translation and 1 conscious error. Then, among 61 social images, there are 30 instances of conscious domestication translations, 18 conscious foreignization translations, 7 conscious trans-editing, 5 conscious abridged translations, and 1 unconscious error. Notably, conscious error and unconscious omission were not observed. Finally, 34 conscious domestication translations, 12 conscious foreignization translations, 3 conscious trans-editing and 2 conscious abridged translation were observed in the material images, while there were no instances of conscious error and unconscious types (see Figs.\u0026nbsp;\u003cspan refid=\"Fig3\" class=\"InternalRef\"\u003e3\u003c/span\u003e and \u003cspan refid=\"Fig4\" class=\"InternalRef\"\u003e4\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eBased on Figs.\u0026nbsp;\u003cspan refid=\"Fig3\" class=\"InternalRef\"\u003e3\u003c/span\u003e and \u003cspan refid=\"Fig4\" class=\"InternalRef\"\u003e4\u003c/span\u003e, most of the data indicate a conscious type of creative treason, with only one data in the social images showing an unconscious type of creative treason. This result indicates that the translator tends to employ conscious acts of creative treason to better align with the target language culture and readership. With only one data showing unconscious creative treason, this suggests that the translation quality and accuracy of this edition remain very high.\u003c/p\u003e\u003cp\u003eFrom Fig.\u0026nbsp;\u003cspan refid=\"Fig3\" class=\"InternalRef\"\u003e3\u003c/span\u003e, it is evident that, within the conscious type, regardless of whether we are discussing natural, social, or material images, domestication is utilized the most often, with a staggering count of 165, constituting 66% of the total number of cultural images (249 in total). Following this is foreignization, accounting for 52 instances, making up 21% of the total. Subsequently, trans-editing is represented by 20 data, amounting to 8% of the total, while abridged translation comprises 10 instances, constituting 4%. Lastly, only one data demonstrates conscious error.\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eFigure \u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e displays the results of creative treason within natural images, where domestication is utilized the most often, with a substantial count of 101, constituting 74% of the total number of natural images (137 in total). Following this is foreignization, represented by 22 instances, making up 16% of the total. Subsequently, trans-editing amounts to 10 data points, amounting to 7% of the total, while abridged translation comprises 3 instances, accounting for 2%. Lastly, only one data point demonstrates conscious error, with zero data points for unconscious error and unconscious omission.\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eIn Fig.\u0026nbsp;\u003cspan refid=\"Fig6\" class=\"InternalRef\"\u003e6\u003c/span\u003e, the predominant trend is the utilization of domestication, which is observed the most frequently, with a count of 30 instances, constituting 49% of the total number of social images (totaling 61). Following this trend is foreignization, represented by 18 instances, making up 30% of the total. Subsequently, trans-editing is depicted by 7 instances, amounting to 11% of the total, while abridged translation comprises 5 instances, accounting for 8%. Lastly, only one instance indicates an \u0026ldquo;unconscious error\u0026rdquo;, with no data points for conscious error and unconscious omission.\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eIn Fig.\u0026nbsp;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e7\u003c/span\u003e, the analysis of material images demonstrates that domestication is the most frequently used strategy, accounting for 34 instances, constituting 67% of the total number of material images (totaling 51). Following this trend is foreignization, represented by 12 instances, making up 24% of the total. Subsequently, trans-editing is depicted by 3 instances, amounting to 6% of the total, while abridged translation comprises 2 instances, accounting for 4%. Lastly, there are no recorded instances for conscious error, unconscious error, or unconscious omission.\u003c/p\u003e\u003cp\u003eThe comparison of data as shown in Figs.\u0026nbsp;\u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e\u0026ndash;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e7\u003c/span\u003e among natural images, social images, and material images reveals that domestication translation has the highest rate within natural images, reaching as high as 74%, this is primarily due to the following reasons:\u003c/p\u003e\u003cp\u003eCultural acceptance: domestication allows the use of familiar and commonplace natural vocabulary in the TL, making it easier for readers to comprehend. By translating natural images from the SL into concepts familiar in the TL, the TT becomes more readily accepted by readers in the target culture.\u003c/p\u003e\u003cp\u003eEmotional resonance: natural image is often deeply intertwined with emotions and experiences. By employing common natural vocabulary in the TL, the translator can better convey the emotions embedded in the ST, thereby enhancing the resonance shared between readers and the text.\u003c/p\u003e\u003cp\u003eLiterary expression: domestication helps preserve the literary and artistic effects of the ST. Natural image in \u003cem\u003eCi\u003c/em\u003e is sometimes carefully selected and crafted. To maintain the ST\u0026rsquo;s artistic integrity, the translator may opt for natural vocabulary in the TL that aligns with the literary traditions of that language.\u003c/p\u003e\u003cp\u003eCultural symbolism: natural image frequently holds specific symbolic meanings within cultures. By using common natural vocabulary in the TL, translation can effectively convey the symbolic meanings present in the ST, ensuring that cultural elements are preserved and passed on.\u003c/p\u003e\u003cp\u003eAside from the prevalent use of domestication, the second most employed method is foreignization. Comparing Figs.\u0026nbsp;\u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e\u0026ndash;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e7\u003c/span\u003e, social images exhibit a higher proportion of foreignization, accounting for 30%. The predominant use of foreignization in social images can be attributed to the following reasons:\u003c/p\u003e\u003cp\u003eFirstly, cultural differences: Social imagery often involves specific cultural, historical, and societal contexts. To accurately convey the social imagery within the original poems, the translator may need to retain the unique language and cultural elements of the source culture. This may require employing foreignization to preserve the original cultural characteristics.\u003c/p\u003e\u003cp\u003eSecondly, conveying cultural details: Social imagery frequently encompasses numerous subtle cultural intricacies and societal phenomena that might not have direct counterparts in the target language. Hence, it necessitates the use of foreignization in translation to explain or convert these details into forms understandable to readers in the TL.\u003c/p\u003e\u003cp\u003eThirdly, preserving the original style and emotions: Li Qingzhao\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e often contains profound emotions and a distinctive literary style. When translating social imagery, the translator may choose foreignization to better convey the emotional expressions and literary features of the original poems to maintain their emotional depth and artistic essence.\u003c/p\u003e\u003cp\u003eFrom Figs.\u0026nbsp;\u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e\u0026ndash;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e7\u003c/span\u003e, it is evident that trans-editing shows an upward trend particularly in relation to social images and compared to the natural and material images. The reason for this surge is that the \u0026ldquo;allusion\u0026rdquo; segment of social images mostly adopt trans-editing because allusions are references to specific cultural, historical, or literary elements that might not have direct equivalents in the TL. The trans-editing method allows translators to preserve the essence or intended meaning of the allusion while adapting it to the cultural context of the TL. It also involves a balance between literal translation and adaptation to ensure the allusion makes sense to the target readers.\u003c/p\u003e\u003cp\u003eUpon further scrutiny of Figs.\u0026nbsp;\u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e\u0026ndash;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e7\u003c/span\u003e, it becomes apparent that abridged translation experiences a noteworthy surge within social images, accounting for 8% of instances. In contrast, its occurrence is markedly lower, constituting 2% in natural images and 4% in material images. This discrepancy suggests that social imagery often incorporates intricate cultural references, subtle connotations, or historical backgrounds that may contain elements less familiar or relevant to the target readers. Abridged translation strategies aim to condense the content while retaining its essential meaning, effectively conveying its essence to the readers. However, in literary works like Li\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e, preserving the poetic rhythm and aesthetic elements from the original text holds significant importance. Abridged translation techniques might be employed to uphold the rhythm and aesthetic essence while ensuring the faithful transmission of the source\u0026rsquo;s meaning.\u003c/p\u003e\u003cp\u003eThe research has identified the presence of another scenario within creative treason, whereby any translation method from creative treason combined with the compensation strategy work together to achieve the perfect transmission of this cultural imagery. As mentioned, creative treason is dominantly domestication, foreignization, and trans-editing, while compensatory parts involve nouns, verbs or phrases, adjectives, structure, etc. On further examination this compensation strategy can be divided into three forms: firstly, compensation within the same verse of this \u003cem\u003eCi\u003c/em\u003e, namely, No. 1, No. 13, Nos. 14\u0026ndash;16, No. 28, No. 69, No. 77, No. 81, No. 85, No. 149, No. 150, No. 172, No. 216, No. 217, No. 230, No. 237, No. 238, and No. 246. Second, compensation in the preceding and following lines of the Ci as in No. 61, No. 63, No. 76. Nos. 87\u0026ndash;88, No. 91, Nos. 100\u0026ndash;101, No. 164, No. 171, No. 173, No. 175, No. 220, No. 234, No. 235, No. 236, and No. 249. Third, compensation across the entire Ci and related words and phrase, such as No. 176 and No. 177.\u003c/p\u003e\u003cp\u003eFrom a traditional poetic perspective, the appropriate use of creative treason in translating Li\u0026rsquo;s poems depicting cultural imagery (natural, social, and material) can be justified for the following reasons:\u003c/p\u003e\u003cp\u003eIn terms of melodic beauty: Creative treason encourages the introduction of innovative elements, breaking away from traditional rules. In the translation of natural, social, and material images, creative English vocabulary and expressions are utilized to better convey the melodic beauty of culture in the original poems. Adopting novel phonetic combinations adds layers to the translation, making it more nuanced and closer to the aesthetic preferences of contemporary readers.\u003c/p\u003e\u003cp\u003eRegarding aesthetic imagery: In the treatment of aesthetic beauty, creative treason encourages the use of unique expressions. In the translation of cultural imagery, it employs creative adjectives and rhetorical devices to present the aesthetic beauty of culture found in the original poems. This innovation helps make the translation more contemporary and appealing, highlighting the modern facets of cultural expression.\u003c/p\u003e\u003cp\u003eConcerning rhythmic beauty: creative treason encourages the introduction of innovations while maintaining the basic rhythm. In the translation of cultural imagery, it can moderately adjust the rhyme and rhythm of the poems, thereby infusing the English version with more variation and vitality. This approach aids in conveying the rhythmic charm inherent in the cultural imagery of the original poems, allowing readers to experience the diversity and richness of culture more profoundly.\u003c/p\u003e\u003cp\u003eIn summary, the use of creative treason in translating Li\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e poems depicting cultural imagery is appropriate as it introduces innovative expressions while preserving the essence of the original aesthetic. This innovative endeavor contributes to bringing classical literature closer to modern readers while retaining the timeless beauty of the poetry.\u003c/p\u003e\n\u003ch3\u003eThe Results of Transferring Messages Analysis in Cultural Images\u003c/h3\u003e\n\u003cp\u003eIn 137 natural image samples and, after analysis, the results of transferring messages are 16 deformations, 20 additions, 12 expansions, 3 losses, 18 false losses and 72 not involved. \u0026ldquo;False loss\u0026rdquo; is not explicitly mentioned in Medio-Translatology; it emerged from data analysis by the researcher as a significant finding in this study. In cultural equivalent translations, sometimes the direct conveyance of a cultural image or deeper meaning is not feasible. However, through creative adaptation and compensatory methods within the text, the loss can be addressed. Therefore, this phenomenon is not truly a loss, but rather termed as \u0026ldquo;false loss\u0026rdquo; by researcher.\u003c/p\u003e\u003cp\u003e\u0026ldquo;Not involved\u0026rdquo; is also not explicitly mentioned in Medio-Translatology; it emerges from data analysis by the researcher. From the data results, it appears that not all data exhibit the four phenomena of loss, deformation, addition, and expansion during translation conversion. Some data do not involve these four phenomena in the translation process. The reason might be that not all data exhibit the phenomena of loss, deformation, addition, and expansion during the translation process. Also, some data may not involve these specific alterations, depending on the nature of the ST, the complexity of its vocabulary, syntax structures, and the translation approach chosen by the translator. At times, certain data might have a more direct correspondence or equivalence in translation, thereby not necessitating these specific types of alterations.\u003c/p\u003e\u003cp\u003eBy contrast with natural images, there are 19 deformations, 18 additions, 10 expansions, and 6 losses, 3 partial losses, 10 false losses, as well as 6 data not involved in social images. \u0026ldquo;Partial loss\u0026rdquo; is a further classification by the researcher based on data analysis, referring to the partial loss of information during the process of information transmission, rather than a complete loss of image.\u003c/p\u003e\u003cp\u003eFurthermore, the results of transferring message of material images include 1 deformation, 7 additions, 4 expansions, 4 losses, 12 false losses and 29 not involved (see Fig.\u0026nbsp;\u003cspan refid=\"Fig8\" class=\"InternalRef\"\u003e8\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eAs evidenced by Fig.\u0026nbsp;\u003cspan refid=\"Fig8\" class=\"InternalRef\"\u003e8\u003c/span\u003e, the most notable variation is observed in the phenomenon \u0026ldquo;not involved\u0026rdquo;, which also holds the largest dataset (119), constituting 48% of the entire dataset (249 data). The phenomenon of \u0026ldquo;not involved\u0026rdquo; peaked in the natural images (total 72 data), then declined significantly in social images (6 data), and gradually rose again in material images (29 data). The numerical data suggests that the phenomena of \u0026ldquo;deformation\u0026rdquo; and \u0026ldquo;addition\u0026rdquo; exhibit a higher proportion respectively in the social images (19 data) and natural images (20 data), declining in material images. The phenomenon of \u0026ldquo;expansion\u0026rdquo; shows a decreasing trend from natural to social image and, finally, to material image. The phenomenon of \u0026ldquo;loss\u0026rdquo; exhibits a slight increase within social image, while only social image involves partial loss. Neither natural image nor material image involves this partial loss phenomenon. The phenomenon of \u0026ldquo;false loss\u0026rdquo; decreases from a numerical value of 18 in natural image to 10 in social image, and then rises again to a value of 12 in material image.\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eFigure \u003cspan refid=\"Fig9\" class=\"InternalRef\"\u003e9\u003c/span\u003e displays the results of transferring messages within natural images. Because some data simultaneously exhibit two phenomena, all data related to the case must be included when calculating percentages. Therefore, the total data in Fig.\u0026nbsp;\u003cspan refid=\"Fig9\" class=\"InternalRef\"\u003e9\u003c/span\u003e is 141, and the following percentages are calculated based on this total. The phenomenon \u0026ldquo;not involved\u0026rdquo; is utilized the most, with a substantial count of 72, constituting 50% of the total number of natural images (141 in total). Following this is addition, represented by 20 instances, making up 14% of the total. Subsequently, false loss is reaches 12 data points, amounting to 13% of the total, while deformation and expansion comprises 16 and 12 data, accounting for 11% and 9% respectively. Lastly, loss is presented by 3 data, with zero for partial loss.\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eFigure \u003cspan refid=\"Fig10\" class=\"InternalRef\"\u003e10\u003c/span\u003e illustrates the outcomes of message transfer within social images. As some data simultaneously exhibit two phenomena, all relevant data must be considered when calculating percentages. Thus, the total data in Fig.\u0026nbsp;6.9 amounts to 72 and the subsequent percentages are derived from this overall figure. The dominant trends observed are the utilization of \u0026ldquo;deformation\u0026rdquo; and \u0026ldquo;addition\u0026rdquo;, represented by 19 and 18 instances, respectively constituting 26% and 25% of the total number of social images (totaling 72). Following this pattern are \u0026ldquo;expansion\u0026rdquo; and \u0026ldquo;false loss\u0026rdquo;, each represented by 10 instances, making up 14% of the total. Subsequently, \u0026ldquo;loss\u0026rdquo; and \u0026ldquo;not involved\u0026rdquo; are depicted by 6 instances, amounting to 8% of the total, while \u0026ldquo;partial loss\u0026rdquo; comprises 3 instances, accounting for 4%.\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eFigure \u003cspan refid=\"Fig11\" class=\"InternalRef\"\u003e11\u003c/span\u003e illustrates the outcomes of message transfer within material images. As some data exhibit two phenomena simultaneously, all relevant data is considered when calculating percentages. Thus, the total data in Fig.\u0026nbsp;6.10 amounts to 57 while the subsequent percentages are derived from this overall figure. The analysis of material images reveals that \u0026ldquo;not involved\u0026rdquo; accounts for 29 instances, constituting 51% of the total number of material images (totaling 57). Following this trend is \u0026ldquo;false loss\u0026rdquo;, represented by 12 instances, making up 21% of the total. Subsequently, \u0026ldquo;addition\u0026rdquo; is depicted by 7 instances, amounting to 12% of the total, while both \u0026ldquo;expansion\u0026rdquo; and \u0026ldquo;loss\u0026rdquo; comprise 4 instances, each accounting for 7%. The least represented is \u0026ldquo;deformation\u0026rdquo;, with only 1 datum, accounting for 2%. Lastly, there are no recorded instances for \u0026ldquo;partial loss\u0026rdquo;.\u003c/p\u003e\u003cp\u003eFigures \u003cspan refid=\"Fig9\" class=\"InternalRef\"\u003e9\u003c/span\u003e\u0026ndash;\u003cspan refid=\"Fig11\" class=\"InternalRef\"\u003e11\u003c/span\u003e respectively represent the detailed data analysis results for the transferring message in natural, social, and material image. Upon comparison, the most significant variation is observed in the phenomenon \u0026ldquo;not involved\u0026rdquo;. Why did this occur? The following three reasons can answer this.\u003c/p\u003e\u003cp\u003eFirstly, Abstraction in Natural Image: Translation of natural image often deals with more abstract and symbolic themes, which are less closely related to human social contexts. The translator tends to maintain objectivity and directness, avoiding excessive loss, deformation, addition, or expansion of the ST. Hence, the \u0026ldquo;not involved\u0026rdquo; phenomenon peaked during translation of natural image.\u003c/p\u003e\u003cp\u003eSecondly, Complexity in Social Image: Social image involves themes directly related to language, etiquette, and customs, and literature. In translating such images, there might be more inclination to manipulate cultural images, possibly leading to more loss, deformation, addition, or expansion. Consequently, the \u0026ldquo;not involved\u0026rdquo; phenomenon shows a lower value during translation of social image.\u003c/p\u003e\u003cp\u003eThirdly, Specificity in Material Image: Material image may emphasize concrete objects or scenes, often lacking complex cultural connotations or emotions. The translator may tend to maintain objectivity, involving less loss, deformation, addition, or expansion of cultural images. Hence, the \u0026ldquo;not involved\u0026rdquo; phenomenon begins to rise again during this phase.\u003c/p\u003e\u003cp\u003eTherefore, the fluctuation of the \u0026ldquo;not involved\u0026rdquo; phenomenon across different types of images in translation reflects the varied approaches and tendencies of the translator regarding the manipulation of cultural images in diverse textual contexts.\u003c/p\u003e\u003cp\u003eThe numerical data in Figs.\u0026nbsp;\u003cspan refid=\"Fig9\" class=\"InternalRef\"\u003e9\u003c/span\u003e\u0026ndash;\u003cspan refid=\"Fig11\" class=\"InternalRef\"\u003e11\u003c/span\u003e suggests that the phenomena of \u0026ldquo;deformation\u0026rdquo; and \u0026ldquo;addition\u0026rdquo; exhibit a higher proportion in the translation of natural images (11% and 14%) and social images (26% and 25%), declining in material images (2% and 12%). This might indicate that natural images and social images involve more cultural connotations, abstraction, and mention of human relations. The translator tends to employ more deformation or addition to convey the source meaning accurately. However, with material images emphasizing concrete descriptions and physical entities, the need for deformation or addition decreases.\u003c/p\u003e\u003cp\u003eThe phenomenon of \u0026ldquo;false loss\u0026rdquo; in material imagery accounts for 21%, higher than the 13% in natural imagery and 14% in social imagery. False loss is the important discovery of this research, and it could be termed as a form of false loss since the deep meaning or cultural image of the term is not entirely lost and can be conveyed through compensatory means in the text.\u003c/p\u003e\u003cp\u003eIn addition, one data not just represents one phenomenon, in other words, some data identified two phenomena when transferring message. In terms of the combination of addition and expansion, addition and deformation, there are several reasons for this:\u003c/p\u003e\u003cp\u003eFirstly, when translating \u003cem\u003eCi\u003c/em\u003e, the translator may find it challenging to directly translate the intended meaning or emotions from the ST into the TL. Therefore, additional words or information might be necessary to convey the source context or emotions more accurately. The addition aims to expand readers\u0026rsquo; understanding of the poetry, enriching its imagery and depth in the TL.\u003c/p\u003e\u003cp\u003eSecondly, at times, certain cultural, historical, or region-specific expressions in the original work may not have direct equivalents in the TL. To facilitate readers\u0026rsquo; better comprehension of the TL, the translator might modify the ST and include additional relevant information to adapt to the cultural and contextual nuances of the TL. This may lead to some deformation and addition of the ST during the translation process.\u003c/p\u003e\u003cp\u003eThirdly, preserving poetic elements: poetry relies heavily on sound, rhythm, and metaphor. The translator employed a combination of strategies to maintain the poetic elements, ensuring the translated work captures the original\u0026rsquo;s essence.\u003c/p\u003e\u003cp\u003eFourthly, creative freedom: the translator employed multiple strategies creatively to enhance the overall impact of the translated work. This could involve transforming certain elements while adding others to amplify the intended message.\u003c/p\u003e\u003cp\u003eIn essence, the decision to use multiple translation phenomena is driven by the need to convey the original work\u0026rsquo;s complexity, depth, and cultural nuances. By employing a combination of strategies, the translator can create a nuanced and faithful representation of the ST in the TL.\u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eFunded Projects\u003c/strong\u003e:Ministry of Education Vocational College Education and Teaching Reform Project: \u0026ldquo;Research on Governance Policies of Online Language Use in University English Teaching under the Background of Artificial Intelligence\u0026rdquo; (2025JGYB045);2025 \u0026ldquo;14th Five-Year Plan\u0026rdquo; Special Project on \u0026ldquo;Reading and Teacher Development\u0026rdquo; by the Tao Xingzhi Research Association of China: \u0026ldquo;Application of Multimodal Generative AI in College English Creative Writing Teaching\u0026rdquo; (202513164JN);2024 Jilin Province Higher Education Research Project: \u0026ldquo;Exploration and Practice of ChatGPT in College English Translation Teaching\u0026rdquo;(JGJX24D1074).\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n \u003cli\u003eChen Qianfeng. (2009). \u003cem\u003eAn Analysis of the Translation of the Word \u0026ldquo;Yan\u0026rdquo; in Li Qingzhao\u0026rsquo;s \u0026ldquo;Slow Voice\u0026rdquo;,\u003c/em\u003e Journal of Xianning University, Vol. 29，No. I.\u003c/li\u003e\n \u003cli\u003eChen Lihong (2019). \u003cem\u003eA Complete Review of Li Qingzhao\u0026rsquo;s Poems.\u003c/em\u003e Beijing: China Textile Press.\u003c/li\u003e\n \u003cli\u003eFong, Grace S. (2014). \u003cem\u003eWu Wenying and the Art of Southern Song Ci Poetry\u003c/em\u003e. Princeton University Press.Google Scholar.\u003c/li\u003e\n \u003cli\u003eHua Lingyan. (2010). \u003cem\u003eA Study of the Cultural Imagery Translation of Hong Lou Meng\u0026rsquo;s Poetry--- A Perspective of Palmer\u0026rsquo;s Cultural Linguistics.\u003c/em\u003e MA thesis, Tianjing University of Finance and Economics, Tianjing.\u003c/li\u003e\n \u003cli\u003eLi Liang. (2009). \u003cem\u003eThe C-E Translation of Cultural Image in Classical Chinese Poetry: A Perspective of Cultural-Specific Items\u003c/em\u003e. MA thesis,\u003cem\u003e\u0026nbsp;\u003c/em\u003eCentral South University, Changsha.\u003c/li\u003e\n \u003cli\u003ePan Yun. (2012). \u003cem\u003eImages Translation in Li Qingzhao\u0026apos;s Lyrics: A Comparison of Two Versions by Xu Yuanchong, and Rexroth, Kenneth and Zhong Ling from Intertextual Perspective.\u0026nbsp;\u003c/em\u003eMA thesis, Hunan University.\u003c/li\u003e\n \u003cli\u003eSun Yi. (2015) \u003cem\u003eA Study on the Image Transplantation in Xu Yuanchong\u0026rsquo;s Translation of Li Qingzhao\u0026rsquo;s Poetry from the Perspective of Palmer\u0026rsquo;s Cultural Linguistics.\u0026nbsp;\u003c/em\u003eMA thesis,Wuhan: Central China Normal University.\u003c/li\u003e\n \u003cli\u003eTang Cong (2019) \u003cem\u003eTranslation of Cultural Images in Literary Works from the Perspective of Gestalt Heterogeneous Isomorphism:with Reference to the English Versions of Li Qingzhao\u0026rsquo;s Ci Poems.\u0026nbsp;\u003c/em\u003eMA thesis, Shanghai International Studies University.\u0026nbsp;\u003c/li\u003e\n \u003cli\u003eWang Jiaosheng. (1989). \u003cem\u003eThe Complete Ci-poems of Li Qingzhao: A New English Translation,\u0026nbsp;\u003c/em\u003eVictor H. Mair (Ed.), \u003cem\u003eSino-Platonic Papers. Department of East Asian Languages and Civilizations\u003c/em\u003e, University of Pennsylvania Philadelphia.\u003c/li\u003e\n \u003cli\u003eWu Lin. (2013).\u0026nbsp;\u003cem\u003eA Study on the Cultural Images Translated in Li Qingzhao\u003c/em\u003e\u003cem\u003e\u0026rsquo;\u003c/em\u003e\u003cem\u003es\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003cem\u003eCi-poems: A Perspective of Domestication and Foreignization\u003c/em\u003e\u003cem\u003e.\u0026nbsp;\u003c/em\u003eMA thesis, Xi\u0026rsquo;an International Studies University.\u003c/li\u003e\n \u003cli\u003eXie Tianzhen. (1999). \u003cem\u003eMedio-Translatology.\u003c/em\u003e Shanghai: Shanghai Foreign Language Education Press.\u003c/li\u003e\n \u003cli\u003eXie Tianzhen. (2013) \u003cem\u003eMedio-Translatology (Revised Edition).\u003c/em\u003e Nanjing: Yilin Publishing House.\u003c/li\u003e\n \u003cli\u003eXie Tianzhen. (2018). \u003cem\u003eIntroduction to Medio-Translatology.\u0026nbsp;\u003c/em\u003eBeijing: Peking University Press.\u003c/li\u003e\n \u003cli\u003eYin Miao. (2011). \u003cem\u003eOn the English Translation of Cultural Imagery in Li Qingzhao\u0026rsquo;s Shengshengman,\u003c/em\u003e Young Writer\u003cem\u003e.\u003c/em\u003e\u003c/li\u003e\n \u003cli\u003eZhu Manhua (2018) Complete Collection of Li Qingzhao\u0026rsquo;s Poetry Translated by Manfield Zhu. Beijing: Commercial Press International Co., Ltd.\u003c/li\u003e\n\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":true,"hideJournal":true,"highlight":"","institution":"Jilin International Studies University","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"creative treason, cultural image, Medio-Translatology, phenomenon of information transferring","lastPublishedDoi":"10.21203/rs.3.rs-7577574/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-7577574/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThe objective of this study is to examine the translation of cultural images in Zhu Manhua\u0026rsquo;s English version of Li Qingzhao\u0026rsquo;s \u003cem\u003eCi\u003c/em\u003e. Xie Tianzhen\u0026rsquo;s (\u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e1999\u003c/span\u003e) Medio-Translatology will be utilized to classify cultural images, analyze the translator\u0026rsquo;s creative treason, and explore the phenomenon of information transferring of cultural images from source language to target language. The findings of the study indicate that Xie Tianzhen\u0026rsquo;s manifestations of cultural image provides valuable guidance for categorizing the cultural images in this version. The results also reveal that only six out of creative treason\u0026rsquo;s nine strategies are identified in the research, while the other three are not identified, namely, relay-translation in conscious type, adaptation in conscious type, and omissions in unconscious type. Additionally, this research discovered the presence of another scenario, which is not presented in the Medio-translatology, except the loss, deformation, addition, and expansion phenomenon during the translation process, some data exist false loss phenomenon.\u003c/p\u003e","manuscriptTitle":"The Analysis of Cultural Images Translation in Li Qingzhao’s Ci—based on the Medio-translatology","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-09-11 11:20:54","doi":"10.21203/rs.3.rs-7577574/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"8d246c48-edaa-465e-bd4f-ec48409f1180","owner":[],"postedDate":"September 11th, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[{"id":54544870,"name":"Literature"},{"id":54544871,"name":"Cultural Studies"},{"id":54544872,"name":"Linguistics"}],"tags":[],"updatedAt":"2025-09-11T11:20:54+00:00","versionOfRecord":[],"versionCreatedAt":"2025-09-11 11:20:54","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-7577574","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-7577574","identity":"rs-7577574","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}