Correct spelling is the most basic requirement for accurate information. However, spelling mistakes can be spotted now and then in scenic-spot introductions. Although most of these mistakes do not result in serious misunderstandings, they may affect the readers' aesthetic experience of the source language. Contradictory to the beautifulness of accuracy, spelling mistakes may arouse unpleasant feelings from tourists.

In an introductory text of Gui Lin, “Decai mountain” is adopted to express “叠彩 山’’; in fact, the transliteration of the place name should be “Diecai mountain”.① What’s more, ‘Time-cherising Study5, is carved to name “惜阴书屋'

and evidently, it is the misspelling of 4tTime-cherishing Study’’.

Another example comes from such carved sentences as 4The body of the building is shaped as a palace. It is shaped as a palace.” Obviously, the second sentence is a simple repetition of the first one; and the mistake can be avoided by careful proofreading.

3. 3.2 Non-Uniformity of Names

Unified name relates to the version of an individual person, place, etc from Chinese to English. To these words, there is usually one-to-one relationship between the source language and the target language and the corresponding words can be easily looked up in a bilingual dictionary. However, the cases that lack unified name can be found easily. The present author has collected first-hand examples to illustrate this point.

In one scenic spot» ‘‘泰山, is respectively translated into “Mt. Taishan” and “Mt. Tai”，which may puzzle the foreign tourists•① And “唐槐” is translated into ‘The Tang Pagoda Tree” and “scholar trees of Tang Dynasty, in respect it is hard for tourists to imagine these two names refer to one thing.

Similarly, it is once pointed out that two different versions of “漓江” appeared in one newspaper, which may cause puzzlement from readers.

3. 3.3 Pseudo-Equivalence

Pseudo-equivalence, namely the superficial equivalence without full comprehension of the word9s meaning, brings unnecessary misunderstandings. In the translation practice, one of the most perplexing problems is to find an equivalent word in the target language. In fact, the lexical item in one language and its counterpart in another are not remained in one-to-one relationship, but rather a one-to-many， many-to-one, or sometimes many-to-many correspondence. Therefore, the translators must learn to distinguish these superficially equivalent words and strive to choose the proper word according to the context so as to convey the information clearly and correctly. However, there are many cases of pseudo-equivalence in the English translation of Chinese scenic-spot introductions

Here is an example: In a park of Gui Lin，“逍遥塔” is translated into “Free Tower”.

The word “free” in the target language is a pseudo-equivalent word to “逍遥”， although in Chinese, “逍遥 ” also shares the meaning with the word “ free” to refer to without any obstruction. However, in most circumstances, “free” means not requiring

a specified payment. Therefore, in this context, the English word corresponding to Chinese “ 逍遥” should be “carefree”. The refined version suggested for “逍遥塔” is “Carefree Tower5’.

3. 3.4 Redundancy

As translation of scenic-spot introductions is fix>m Chinese to English, Chinese will inevitably exert its influence in the translation. In some circumstances, the meaning, which has already been implied in the context, does not need further elaboration. However, in the English translation of scenic-spot introductions, there are still some words, which add nothing to the meaning but make the phrases or sentences tedious. In order to achieve conciseness, these words should be deleted.

Just as Example(5), clearly, the original text is rather pompous, but quite fit for Chinese taste; if translate it literally as follows, it would be less convincing: 3000 crags rise in various shapes. They are like whips or pillars propping up the sky, or huge walls, solid and sound; or immense eggs piled on an unsteady boarder; or miniature rocky or curios... Fantastic but actual, dreamy but real! They are not artistic works, but more exquisite than artistic works. One can not help marveling at the acme of perfection of Nature's creation.(《武陵源风景》画册）

Judging the above version with Nida's three criteria: the correctness with which the receptors understand the message of the original, the ease of comprehension, and the involvement a person experiences as the result of the adequacy of the form of the translation (Nida 1982:173), it obviously belongs to incorrect version with little informative message. Just as professor Chen Zhenqiu (程镇球）warns: ‘The Chinese language tolerates more adjectives and adverbs than the English,... If all of them are translated literally in to English, the effect would be deadening. Too much emphasis means very little emphasis.’’(1981:47) The target text is rather wordy and tedious, and the beautifulness in the original text is dismissed by redundancy. Therefore, the author prefers the translation as is mentioned in Chapter 3.

3. 3.5 Over-Omission

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