This famous line of poem creates a specified image to bring readers aesthetic feelings in both original text and target text So there is a question obviously confront us and must be urgently answered: How do we deal with the quotation? The author suggests the topic-prominent principle. If the quotation serves for the main theme appropriately, it can be translated fully or partially according to its context. If the quotation is the information added for literary grace, but with little relationship with the main topic, it can be often omitted.

2. 2.2 Beautifulness of Indirectness…Using Similes and Metaphors

Similes and metaphors are figures of speech frequently used in both Chine

writing and English writing, which help people obtain aesthetic perception indirectly. They are common rhetoric devices to make a text more vivid and easy to be understood. In comparison, Chinese scenic-spot introductions seem more relatively ornate or flowery than English ones because of extensive usages of those figures. The use of many figures is an important approach to stimulate the readers* endless imaginations. The following example uses typical similes which are common in Chinese scenic-spot introductions.

Example(5)：这里三千座奇峰拔地而起，形态各异，有的似玉柱神鞭，立地顶天; 有的象铜墙铁壁，巍然屹立;有的如晃板垒卵，摇摇欲坠;有的若盆景古董，玲珑剔 透……神奇而又真实，迷离而又实在，不是艺术创造胜似艺术创造，令人叹为观 止。[贾文波 2003(1):21]

Translation: 3000 crags rise in various shapes—pillars, columns, walls, shaky egg stacks and potted landscapes...—conjuring up unforgettably fantastic images.

Since excessive use of rhetoric devices is not conventional in English scenic-spot introductions and not accepted by English readers, the above similes are replaced by simple expressions in translation as above. 

Anyhow, the author suggests the maintaining of rhetoric devices in translation on the basis of keeping away unnatural expressions. 

2.2.3 Beautifulness of Complexity一Using Four-Character Chinese

Chinese tourism texts prefer literary words or archaic words. The most prominent feature of Chinese scenic-spot introductions is the frequent employment of four-character phrases in scenery descriptions, because Chinese people attach great importance to “harmony5’ between persons, persons and things. So, it has formed a practice that Chinese authors tend to adopt four-character phrases in writing to acquire the formal balance and emphasize the importance of things. Agreeable to the ear and pleasing to the eye, the particular structures of Chinese can achieve the harmonious effect in rhythm as well.

Example(6):沿湖四周，花木繁茂；群山之中，泉流竞流；亭台楼阁，交相 辉映；湖光山色，千古风情，令多少人留连忘返。（司显柱&曾剑平2006:481)

Those four-character expressions not only form beauty in rhyme and form, but also create a picturesque image as a whole. People’s imagination would be inspired by the diction. Nevertheless, it is really a tough job for translators to render those words owing to Chinese expressions5 condensed form but meaningful content. And for the native reader of English, the meaning of ubiquitous adjectives and adverbs grows fainter with each description (Pinkham 2000: 48). As a result, translators try to keep important information and to omit the less important information for making description concise. Special beautifulness in four-character Chinese will only partially reappear. Here comes the translation of the above examples:”The causeways, bridges, pavilions, springs, trees and flowers in and around the West Lake make it a paradise on earthy where one cannot tear himself away.” Obviously, conciseness becomes the basic feature of the target texts. And the author suggests that if an expressive feature does not work in the receiving culture, then the translator must replace it or even invent a new feature so that the overall literary quality is not lost.

2.2.4 Beautifulness of Complexity•一Using Parallelism and Repetition

Parallelism and repetition are popular rhetoric devices used in Chinese writing for symmetrical and rhythmic beauty. With the main function of adding clarity and coherence, parallelism involves balancing the structural elements by means of balancing word with word, phrase with phrase, clause with clause, or sentence with sentence. Repetition which involves repetitive use of the same structural element in a sentence or in a textj is often used with parallelism to emphasize the equal importance and weight of the parallel parts.

Example(7):悠久的历史，灿烂的文化，旖旎的风光，多姿多彩的民族文化， 博大精深的人文景观，构成了该公园独具特色的旅游资源。（金惠康&罗向阳 2006:125)

Translation: With a long history of rich ethnic culture and wonderful natural scenery, the park is endowed with extraordinary tourist resources.

Since in western writing tradition, antithetical structure is often found in literature works, not often in practical writings, there is no need for translators to try every means to maintain its form as the above. In Example(14), although five paralleled phrases sound harmonious, all they express are three things, i,e.“历史'“文化'“风光”，so it is better to reconstruct the original sentence and to omit the repeated information. Perhaps the most forceful condemnation of needless repetition is expressed by the British writers: Robert Graves and Alan Hodge, Unless for rhetorical emphasis, or necessary recapitulation, no idea should be presented more than once in the same prose passage…’’(1979:103)

2. 2.5 Beautifulness of Fuzziness

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