2.1 Reflect in reproducing the beauty in sense

The soul of poetry is the artistic conception. Jin Di, a famous translator in China, said: "the difficulty mainly lies in the translation of Kyrgyzstan Yesi exotic. "Translation should evoke the same feeling in its receptor as the reader of the original feeling". Therefore, the most important thing in translating a poem is to try to create an artistic conception of the original poem. If the translator only pay attention to the beauty of a word or a sentence, it is difficult to make the translation get the same effect as the original poem by ignoring the artistic conception and the atmosphere of the whole poem. Therefore, the target readers can not get the artistic conception of the original poem. For a translator, it is possible to translate a poem into a poem by catching the artistic conception of the poem, and then making it the perfect rhythm and form. In a quiet night, the first, the second and the third section, concise and without loss of poetry, concise and concise writing style corresponds to the original. In the last section, the translator uses the "nostalgia I drowned", shows the wisdom and translation strategies. Readers can see a poet looking at the moon, but he does not like the moon, he is thinking of his hometown, he is homesick. Therefore, it is better for readers to understand Chinese poets often use "cultural images of the moon" expression of emotion understanding of homesickness.

2.2 Reflect in reproducing the beauty in rhythm

The beauty of poetry contains rich content. Mr. Xu Yuanchong concluded the beauty of Chinese classical poetry as the beauty in sense, beauty in rhythm, beauty in form. Zhu Guangqian said: "poetry is a kind of rhythmic pure literature." (朱光潜，1946)Tang poetry rhythm is presented by beat, rhyme, rhythm. Although translator cannot find the corresponding temperament rules in the English language as in Chinese poetry, the translation can also reproduce the beauty of rhythm through the English own language rules. In A Tranquil Night, on the rhythm, the translator used the rhyme “ang” to reproduce the beauty in sound. The poem rhyme with "ang", respectively is “光”, “霜”和“乡”, located in the first, second and fourth verse, namely "aaxa" in poetry translation, the translator adopts the method of rhyme presented in the last word, that is "light" rhyme with "bright" distributed in the first and third verse. Rhyme "aground" and "drowned", distributed in second, fourth verse. The whole poem with poetry in English "ABAB" prosodic rules. In a word, the poetry language is succinct, the implication is profound, especially the antithesis neat, rhythm strictly, so it is easy to read and can make the reader unforgettable. The translation of poetry, artistic conception is the first. But even convey the original poem "beauty" faithfully; if there is no rhythm, it is also hard to preserve the style and the interest of the original poem.

   In the translation On a Quiet Night by TR. S. Obata, the translator use “couch” “ground” “noon” and “home” in the end of each verse, no rhythm, no rhyme, it is tedious to read. If the translated poems without rhythm, how can it make the poem vivid? And how can it convey the beauty of the original poem to the target readers? 

2.3 Reflect in reproducing the beauty in form

The essence of functional linguistics is the language as "the potential of meaning", and different expressions indicate the different communicative intention of the speaker or the writer. And the choice of words, not just for the sake of the words, but also for the order of the words. This paper expounds the concept of the theme and the position, and the key points of the small sentence from the semantic point of view is the linear order of language analysis, which can more accurately convey the source language information. Therefore, from the point of view of functional linguistics, it is more effective to realize semantic equivalence in the process of information construction, which can be more effectively in the process of information construction, and the relationship between them is dialectical and unified. From the structure of information dissemination and communication, respect for the subject structure of the source language means respect for the author's way of thinking. So that the translator can accurately grasp the author's ideas and creative intentions, so that the meaning of translation is more accurate, the logic of the sentence is clearer, more cohesive and coherent discourse. According to the theme of the concept, through the analysis of the original poetry and translation, we can easily find that the two are the same.

床前（主位）明月光（述位）

疑（主位）是地上霜（述位）

举头（主位）望明月（述位）

低头（主位）思故乡（述位）

A bed（T1）, I see a silver light（R1）

I （T2）wonder, if it’s frost aground（R2）

Looking up （T3）, I find the moon　bright（R3）

Bowing, in homesickness（T4）I’m　drowned（R4）

3 .Conclusion

A quiet night in Xu Yuanchong's style is the most similar to the original poem. Words are very simple and smooth; only appear "bed" and "stranded" two poetic words. This version of the rhyme ABAB (light, ground, bright, drowned), each line of the foot is similar to the original. It adopts iambus, makes the poem more clear and orderly. This version not only contains the temperament characteristics of the original poem, but also has the beauty of the rhyme of the English poetry. In the expression of meaning, it is very appropriate to convey the meaning and feelings of the original. With simple language, artistic conception is also vivid, especially the use of "spectacle" and "submerged", accurately showing the original poetry contains the emotion (depression and nostalgia of wandering). In a word, it is good to use the actual translation strategies to accurately present the beauty of the original, so that the target readers can better understand poetry, like it, appreciate it.

References

[1] Nida, Eugene A., and Charles R. Taber. (1969). The Theory and Practice of Translation, With Special Reference to Bible Translating, 200. Leiden: Brill.

[2] Herbert Allen Giles. Chinese Poetry in English Verse[M]. London:Bernard Quaritch.1898.

[3] S.Jenyns:Selections from the 300　Poems of the Tang Dynasty,Proface. London, John Murry. 1940

[4] W.Bynner. The Jade Mountain,a Chinese Anthology BeingThree Handred Poems of the Tang Dynasty[M]. Published in New York, 1929.

[5] 许渊冲.汉英对照唐诗三百首[M] . 北京:高等教育出版社, 2000.

[6] 许渊冲.文学与翻译[M] . 北京: 中国对外翻译出版公司,2003.

[7] 许渊冲.谈唐诗的翻译[ C]. 诗词翻译的艺术[M ] . 中国对外翻译出版公司, 1987: 40

[8]  朱光潜.谈翻译[A].罗新璋.翻译论集[C].北京;商务印书馆,1984.

[9]马铁威. 中国古典诗词英文翻译探析——意、韵、形之完美结合[J].齐齐哈尔大学学报:哲学社会科学版,2010(5)

[10] 辜振坤. 中西诗比较鉴赏与翻译理论[M ]. 北京: 清华大学出版社, 2003.

[11] 金隄.等效翻译探索[M].中国对外翻译出版公司77- 80

[12] 冯庆华.实用翻译教程［M］． 上海: 上海外语教育出版社，1997，44

[13] 谢天振.译介学[M].上海:上海外语教育出版社,1999

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