从接受美学角度看陶渊明田园诗歌的不同英译本分析研究 汉语言文学专业

ContentsAbstract...........................................................................................................................................i摘要............................................................................................................................................iiiIntroduction...................................................................................................................................1ChapterOneLiteratureReview..................................................................................................41.1StudyofChinesePastoralPoetry.......................................................................................41.2StudyofWesternPastoralPoetry.......................................................................................51.3ABriefIntroductionofTaoYuanming...............................................................................51.4TaoYuanming’sPastoralPoetry.........................................................................................81.4.1ANaturalDepictionoftheIdyllicPicture................................................................81.4.2ATrueDescriptionofFarmingLife.........................................................................81.4.3ANarrativeoftheSincereandHonestFriendship...................................................91.4.4ThePerformanceofPeasants’Poverty.....................................................................9ChapterTwoTranslationStandardsandTheoryApplied......................................................102.1TranslationStandardsofClassicalPoetrybothatHomeandAbroad..............................102.2ApplicationofReceptionAestheticsinPoetryTranslation..............................................102.3ABriefIntroductionAboutEnglishVersionsofTao’sPoems.........................................12ChapterThreeAGeneralIntroductionofReceptionAesthetics............................................133.1TheOriginandDevelopmentofReceptionAesthetics....................................................133.2Jaussand“HorizonofExpectation”.................................................................................153.3Iser’s“AppealingStructure”and“ImpliedReader”........................................................17ChapterFourTheAnalysisofTaoYuanming’sPastoralPoetryfromthePerspectiveofReceptionAesthetics...................................................................................................................194.1Reader’sRoleandStatus..................................................................................................194.2AnIntroductionofThreeTranslationVersionsAdoptedinthePaper............................194.3ThreeTranslators’TranslationStandardsfromthePerspectiveofReceptionAesthetics................................................................................................................................................204.4ThreeTranslators’TranslationStrategiesfromthePerspectiveofReceptionAesthetics224.4.1AnAnalysisofWangRongpei’sTranslationStrategies 224.4.2AnAnalysisofYangXianyiandGladys’TranslationStrategies 234.4.3AnAnalysisofDavidHinton’sTranslationStrategies 244.5TheCaseStudyofTao’sTranslationVersionsfromthePerspectiveofReceptionAesthetics 254.5.1TranslationVersionsofBacktoCountryLife(Ⅱ)fromthePerspectiveofReceptionAesthetics 254.5.2TheTranslationoftheSpecialLanguagePointsinTao’sPastoralPoems 294.6Summary 40ChapterFiveConclusion 415.1ResearchAchievement 415.2ResearchSignificance 415.3LimitationsandImplicationsforFutureResearch 425.3.1Limitations 425.3.2ImplicationsforFutureResearch 43Bibliography 44Appendix 47Acknowledgments 73Publication 错误！未定义书签。AbstractWeiJinvigorofstylehasalwaysbeentheconsistentthemethatChinesescholarsconcernandTaoYuanmingistherepresentativecharacterandhasmadegreatcontributionsforthecreationofpastoralpoems.Althoughtheresearchesonhispoemsareabundantatpresent，mostofthemconcentrateontheliteraturefield.FromthispointwecanfindthatTaoYuanming’spoetrytranslationlacksthecorrespondingtheoreticalsupportandresearch.Howtotransmittheculturewhichisexpressedbytheformofpoetryeffectivelytoforeignreadersisahotissueintranslationfield.Receptionaestheticsisintroducedtothisfieldbecauseofthesamenessinsearchingobjectsandrange.Basedonthetheory,thepaperanalysesTao’sdifferenttranslationversionsofthepastoralpoemindetail.Receptionaestheticssupportsthetheorythattheworkitselfisan“appealingstructure”whichcontainsmany“indeterminacies”and“gaps”andwaitsreaderstocompletetheunderstandingandreconstructionoftheworkwiththeirown“horizonofexpectations”.Receptionaestheticsturnstheattentiontotheinteractionbetweentextandreaderandemphasizesthesubjectiveinitiativeofreaders(includingtranslators).InTao’spastoralpoetries,thenaturalandpurestyles,richimages,beautifulartisticrealms,flexibleverves,profoundculturalconnotationsareallthe“indeterminacies”.Howtotranslatetheaestheticeffecttomakethereaders’“horizonofexpectations”interactwiththoseoftheoriginalandfinallyachievethefusionistheleadingsignificanceofreceptionaesthetics.Thispaperisdividedintosixparts.Thefirstpartbrieflyintroducestheresearchstatement,background,objective,outlineandtheoryapplied.Thesecondpartisliteraturereview,whichincludesabriefintroductionofChineseandwesternpastoralpoems,andthendiscussesTaoYuanmingandhispastoralpoems.ThethirdpartoftheresearchistranslationstrategiesandEnglishversionsofTao’spastoralpoetries.Chapterthreeistheoreticalframework.Thischapterelaboratesonthereceptionaestheticsanddiscussestwoimportantconceptswhichare“horizonofexpectations”and“indeterminacies”(or“gaps”).Chapterfouristhecentralpartofthepaperandisalsothespecificprocessofresearchandanalysis.ItmainlyselectsYangXianyi,WangRongpeiandDavidHintons’translationversionsanddiscussestheirtranslationstandards,strategiesandtranslationversionsindetailfromtheperspectiveofreceptionaesthetics.YangiXianyitranslatedpartsofTaoYuanming’spoemsinPoetryandProseoftheHan,WeiandJinDynastywhiletheothertwotranslatorstranslatedmostofhispoemsintheirworks.Thelastpartistheconclusion.ThroughtheexplorationoftherelationshipbetweentranslationversionsofTaoYuanming’spastoralpoetryandreceptionaesthetics,thepapergetstheinspirationorenlightenmentforthetranslation.First,readers’roleandstatusshouldbepaidmuchattentiontoandmeanwhilecannotbeover-exaggeratedduringthetranslationprocess.Thetraditionaltranslationstandardsshouldnotbedeniedaswell.Second,individualdifferencesof“horizonofexpectations”bringenoughroomofimaginationforthetranslators.AppropriatecreationshouldbeencouragedandtheflexiblestrategiesshouldbeadoptedforthetranslationofTaoYuanming’spastoralpoetry,especiallyforthetranslationofreduplications,imagesandculture-loadedwords.Third,payattentiontothereader'stimesandculturalbackgroundandtakesreaders’receptionintofullconsideration.Itisnecessarytomeetthereaders’aestheticneedsandalsotoexpandtheir“horizonofexpectations”.Keywords:TaoYuanming’spastoralpoetry;receptionaesthetics;horizonofexpectation;indeterminacies;translationstrategiesCategorycode:H315.9ii摘 要魏晋风骨一直是中国文人所关心的主题，而陶渊明则是代表人物，为田园诗歌创作做出了卓越贡献。目前关于陶渊明诗歌的研究不少，但大多集中于文学探究，从中可以看出对其诗歌翻译还缺乏相应的理论支撑和研究。如何把这种以诗歌形式所传达的文化有效地传递给外国读者一直是翻译界探寻的问题。接受美学因其研究对象和范围的交叉性被引入了这一领域。本论文以接受美学作为理论基础对陶渊明田园诗歌的不同英译本进行了详细分析。接受美学是文学研究中一种新的范式和方法，接受理论认为作品本身是一个召唤结构，其中蕴藏着许多的不定点和意义空白等待读者以自己的期待视野与之进行积极的对话交流最终共同完成对作品的理解重构。接受理论把目光转向文本和读者的互动关系上，强调读者（包括译者）的主观能动性。陶渊明田园诗歌中自然纯美的诗风，丰富的意象，唯美的意境，灵动的神韵，深厚的文化底蕴便是作品本身的不定点。如何译出其中的审美效果，使读者的期待视野与原作积极互动形成视域融合，便是接受美学理论的指导意义之所在。本文共由六部分构成。第一部分为引言部分，简要概述本研究的研究现状，研究目的和背景以及本论文的整体框架和应用理论。第二部分为文献综述，主要对中西方田园诗歌进行了简要概述，然后介绍了陶渊明及其田园诗歌的思想内涵。第三部分介绍了中西方翻译标准问题并列出了陶渊明田园诗歌的翻译版本。第三章为理论框架，本章对接受美学理论进行了详细阐述并对接受美学中两个重要术语即“期待视野”和“不定点”(或“意义空白”)展开论述。第四章为论文的中心部分，为具体的研究分析过程,主要选取杨宪益，汪榕培和戴维·亨顿的陶渊明诗歌英译本从接受美学的角度对三位的翻译思想，翻译策略和翻译版本进行详细探讨。其中杨宪益的《汉魏六朝诗文选》为选译，汪榕培和戴维·亨顿为全译本。第六章为结论。本论文对陶渊明田园诗歌翻译进行分析，探讨陶渊明田园诗歌的主要译本中采用的翻译策略和接受美学理论之间的关系，并提出了自己对于翻译方法的建议。(1)要重视读者在翻译过程中的地位和作用，但是又不能过分夸大读者作用，不能够否定传统翻译标准。(2)期待视野个人差异性给翻译带来了发挥的想象空间，鼓励译者适当的创造性，鼓励译者运用灵活的翻译策略去翻译陶渊明田园诗歌，尤其是对叠词，意象和文化词语的翻译。(3)要注意读者的时代背景，充分考虑读者的接受程度，既要满足读者的审美需要，又要扩大其期待视野。iii关键词：陶渊明田园诗歌,接受美学,期待视野,不定点,翻译策略分类号：H315.9ivIntroductionStatementoftheStudyThestudyofChinesepoetrytranslationmainlyfocusesonobjectivetextualanalysis.Theleadingrolesthatthereaders(includingthetranslators)haveplayedundertheprocessofthepoemtranslationhavenotbeenpaidmuchattentionto.Reader’sactivereceptionisalsorarelymentioned.Receptionaestheticsemphasizesthestatusofreadersandencouragesthetranslatorstousetheirown“horizonofexpectations”toconcretizetheoriginalandalsoleaveenoughartisticdistanceforthetargetlanguagereaderstointerpretthe“indeterminacies”and“gaps”inthetranslation.However,fewresearchescombinereceptiontheorywithChineseancientpoetrytranslation.Therefore,thispaperattemptstostudytheEnglishtranslationsofTaoYuanming’spastoralpoemsfromtheperspectiveofreceptionaesthetics.ResearchBackgroundPoetryisagreattreasureinChina.RobertPaynementionedthat“poetryisthemostbeautifulflowerinChineseculture”(KongHuiyi,1999:91).TaoYuanming,thefounderofChinesepastoralpoetry,enjoysagreatreputationbothathomeandabroad.Theabundantimages,naturalstyle,beautifulartisticrealm,profoundculturalconnotationsinhispastoralpoemshaveinspirednumerousscholarstoappreciateandtranslatethepoemsandalsocarryouttherelatedresearch.However,theproblemisthatfewpeopledoresearchonChineseancientpoetrytranslationfromtheangleofreceptionaesthetics,letalonethetranslationversionsofTaoYuanming’spastoralpoems.Therefore,thispaperselectsthewell-knowntranslationversionsofWangRongpei,YangXianyiandDavidHintonandillustratestheirtranslationideasandconcretestrategiesfromtheperspectiveofreceptionaesthetics.Atthesametime,thepaperwillattempttogivesomesuggestionsonhowtodealwiththereduplications,images,styleandculturalfactorsduringthetranslationofTaoYuanming’spastoralpoemsonthebasisofreceptiontheory.TheoryAppliedReceptionaestheticsoriginatesfromthetheoryofpost-structuralismtranslationstudyandthehermeneuticstheoryandisoneofthemostinfluentialliterarytheorieswhichhaveagreatimpactonthedevelopmentoftranslationstudies.TherepresentativesareHansRobertJauss,1(1921-)andWolfgangIser(1926-).Jauss’researchthoughtsmainlyfocusontheworkofTowardanAestheticofReception,AestheticExperienceandLiteraryHermeneutics,etc.Hemaintainsthateveryreaderhashis“horizonofexpectation”or“pre-understanding”.Theworkitselfhidesalotof“indeterminacies”and“gaps”whichneedthereaderstoconcretizeorinterpretthem.Iserputforwardtheconceptof“appealingstructure”.This“appealingstructure”whichismadeupofthe“indeterminacies”willnaturallymakethereadersgiverisetodifferentunderstandingsforthesameworkbecauseofthedifferencesofreaders’knowledgestructuresandtheambiguitiesoruncertaintiesofthetexts.Poetry,asthehighestartisticform,inevitablycontainsalotof“indeterminacies”and“gaps”.AsforTaoYuanming’spastoralpoem,the“indeterminacies”and“gaps”refertoitsstyle,images,artisticconcepts,culturalconnotations,etc.Inaddition,receptionaestheticsisaboutthereader’sreceptiontheory.Receptionaestheticsinsiststhatliteratureisnottheobjectiveactivitywhichaimsatthematerialworld,buttheactivitywhichdealswiththeinterpersonalcommunicationofthinking,feelingandunderstandingamongpeople.Therefore,theessenceofliteratureisitsinterpersonalnature.Thisnaturedecidesthatliteraturecannotexistwithouttheobserverindependently.Literaturecreationandspreadingshouldbeseenasa“dialogueprocess”.Thedialogueparticipants,bothauthorsandreaders,areequalpartners.Theyarebothequallyimportantandindispensable.Creationandreceptionprocessofliteratureincludetwobasicaspects:thewriters’worksandreaders.Theworkisnotfinalizedafterthecreativeprocess.Onlybythereceptionactivitiesofreaderscantheworkfinishtheprocess.Authorswriteworksforpeopletoreadandtheonlyobjectisreader.Fromthispointofview,receptionaestheticsconfirmsthattheliteraryandartisticworksbecometheaestheticobjectsonlyafterthereaders’reception.Whenthework’spotentialmeaningandaestheticawarenessinteractwitheachotherandareperceivedbytherecipientsandcauseareaction,thispotentialinformationisfinallytransferredintotheconcreteimagesandmeanings.Itwasalsocontinuouslyimprovedbythechangeoftime,placeandreceptionawareness.ThatisalsowhythereexistsomanytranslationversionsofTaoYuanming’spastoralpoems.Alloftheaboveconceptsofreceptiontheorymakepeoplestudypoetrytranslationfromacompletelynewperspective.Thereceptiontheoryisusedintotranslationforimprovingthetranslationtheory.Meanwhile,thetheorymakethetranslatorspaymuchattentiontothetarget2readers’statusandrolesandencouragethemtousetheflexibletranslationstrategieswiththeirown“horizonofexpectations”tomeetthereaders’artisticneedsatdifferenttimes.ResearchObjectiveTheprimaryconcernofthispaperistointroducetheimportantconceptofreceptiontheoryintotranslationstudy.ThenthispapermainlyinterpretsthreedifferenttranslationversionsofTao’spastoralpoemsunderthetheoreticalsupportofthetheory.BycollectingEnglishtranslationversionsofWangRongpei,YangXianyiandDavidHintonandusingthecomparativestudy,thispaperdoestheutmosttoanalyzetheirtranslationideasandputforwardthesuggestionsonthetranslationmethodsofpoetry.OutlineofthePaperThispaperisdividedintosixparts.Thefirstpartbrieflyintroducestheresearchstatement,background,objective,outlineandtheoryapplied.Thesecondpartisliteraturereview,whichincludesabriefintroductionofChineseandwesternpastoralpoems,andthendiscussesTaoYuanmingandhispastoralpoems.ThethirdpartoftheresearchistranslationstrategiesandEnglishversionsofTao’spastoralpoetries.Thefourthpartistheoreticalframework.Thischapterelaboratesonthereceptionaestheticsanddiscussestwoimportantconceptswhichare“horizonofexpectation”and“indeterminacies”(or“gaps”).Chapterfouristhecentralpartofthepaperandisalsothespecificprocessofresearchandanalysis.ItmainlyselectsYangXianyi,WangRongpeiandDavidHintons’translationversionsanddiscussestheirtranslationstandards,strategiesandtranslationversionsthemselvesindetailfromtheperspectiveofreceptionaesthetics.YangXianyitranslatedpartsofTaoYuanming’spoemsinPoetryandProseoftheHan,WeiandJinDynastywhiletheothertwotranslatorstranslatedallofhispoemsintheirworks.Thelastpartistheconclusion,pointingoutthesignificance,suggestion,limitation,andfurtherstudyinthisfield.3ChapterOneLiteratureReview1.1StudyofChinesePastoralPoetryPastoralpoetryiscloselyrelatedtotheancientfolksongs.Wecaneasilyfindtheevidencefrom“BookofSongs”andtheidyllicpoetryoftheHandynasty.First,theformationofancientpoets’pastoralcomplexandemotionsaredecidedbysocio-economicrealitiesofthetimes.Agriculture(basicallyreferstocrops)istheeconomicbasisofthefeudalsocietyanddeterminesthepeaceandprosperityofthefeudalruling.Therefore,thefeudalrulersofeverydynastyvalueagricultureverymuch.Secondly,mostoftheintellectualscomefrompeasantfamilies.Evenmanychildrenofofficialsliveinruralareasandalsosomeintellectualswhoeverliveinthecitydeliberatelyhideinthecountrysideorthemountainswhentheymeetthecareerbarriers.Becauseofthenaturalconnectionbetweenthem,theintellectualsformaconsciousconcerntotheChineseruralareas.Itisthiscomplexofvillagesthatmaketheancientpoetsreflecttherealitiesandemotionsofpeasant,praisethehard-workingfarmersanddescribethenaturalsceneriesofthecountryside.AllofthesepromotetheemergenceanddevelopmentofChina’sancientpastoralpoetry.Ofcourse,theemergenceanddevelopmentofpastoralpoetryhaveacloserelationshipwiththeextremedarknessoftheofficialdominfeudalsociety.Theexclusionandnepotismofthefeudalbureaucracymakepartoftheofficialsespeciallysomeuprightfeudalintellectualscannotstandthedarknessandcorruptionoftheofficialdomandretreattotheruralareasormountainsasarecluse.Incontrastwiththeflatteryandintrigue,whattheyfeelinthecountrysidearethekindnessandsincerityofthepeasantsandthefreshnessandcharmingofnature.China'sfirst-knownancientpastoralpoet,TaoYuanming,isthemosttypicalrepresentative.IntermsofthesubjectorthecontentofChina’straditionalpastoralpoetry,itmainlyincludesthreeaspects:thedepictionoftheruralpastorallandscape;thepraiseoftheirsimplecharacterandindustriousworkinglife;thelamentandindignationtotheexploitation,oppressionanddisaster.RealismhasalwaysbeenthemainwritingstyleinthecreationofChina'spastoralpoetry.Thatis,itisatruereflectionofthetwothousandyearsancientsocialreality.Thereisstillgreataestheticvalueinmodernsociety.41.2StudyofWesternPastoralPoetryPastoralpoetryoridyllicpoem,bydefinition,istodescribetheirlove,thoughts,placeofresidenceandotherbeautifulnaturalsceneryoftheshepherds.TherepresentativeisTheokritos(忒奥克里托斯)whowroteatotalofthirtypastoralpoems(line2701).Mostofthemsurvivedandhadagreatinfluenceonwesternpoetry.Virgil,Spencer,Milton,Tennyson,Arnoldandothermajorpoetskeepcreatingthepoems.LikethespreadingofthepastoralpoetryinChineseliteraturefromgenerationtogeneration,idyllicpoemhasbecomeonekindofimmortalinwesternliteraryfield.Forthousandsofyears,whenevertheymeetthesetbacksorsufferingsinreallife,orcraveforescapingthepalaceandthecitytobreathetheairofruralareas,thewesternpeoplewillderivetheinspirationfromthepoetryofTheokritosandVirgil;ItisthesamewithChinawherepeopleseekcomforttoobtainthequietnessofmindfromtheworksofTaoYuanming,WangWeiorMengHaoran.Undertheirpens,theshepherdshaveelegantstyleofconversation.Meanwhile,theycansingbeautifulsongsandthelifeisfullofpoeticandartisticprospect.Therefore,thecriticsofthelatergenerationscouldnothelpwondering:howcanthevulgarherdershavesofinelanguageanddelicatefeelings?Butweknowthatitisjusttheworkingpeoplewhocreatethebeautifulcountryballads.Onlywithsuchrichimaginationcantheycreatethepoetrieswhicharevividinimage,wonderfulinrhythm.Thisisanindisputablefact.Theokritosisundoubtedlythemostoutstandingpastoralpoetinwesternliteraryfields.UndertheblueskyinSicily,thoseherdersgrazeonthegreenhills,singingtheirsweetsongs,playingmellowflute.Thiscarefreeandpicturesquelifeinspiredhiscreativeinspiration.Heabsorbedallsortsofnourishmentfromthistrueandbeautifullifeandwrotethepastoralpoetrywhichwonthehighpraise.Inall,boththeChineseandwesternpastorypoemshavegreatimpactsontheliterature.Theycreatethecharmingworldwhichattractsallofustopursuethepurityandsimplicityofoursoul.ThedifferenceisthatwesternpastoralpoetryisbasedontheidealwhiletheChinesepastoralpoetryisonthebasisofreality.Theformerdescribestheidealpastorallifeandexpressesthenostalgicmoodandtheloveforpeacewhilethelattermainlydepictsthenaturalsceneriesoftheruralareasandreflectsthesufferingsandhappinessofthecommonpeople.1.3ABriefIntroductionofTaoYuanming5TaoYuanming,styledYuanliang,aliasTaoQianduringhislastpartoflife,wasoneofthemostdistinguishedpoetsinliteraryhistoryofChina.HewasbornattheendoftheEastJindynasty,inCaisangofXunyang(tothesouthwestofJiujiangcity,Jiangxiprovince,PRC).TaoYuanmingbecomesawidely-knownnamemainlybecauseofthecreationofthepastoralpoemswhicharefullofflavorofthefields,feelingsofsincerityandsimplicityinnature.SometimesitalsoshowsthebeliefofescapismortheTaoism’soptimisticattitudes.HisreclusivestyleanddeeploveforthesimplelifehavegreatlyinfluencedChineseliteratifromgenerationtogeneration.AndeventhewholeChinesecultureisheavilyinfluencedbyhim.TheeducationofthefamilyandtheinfluenceofthetimesattributestothedevelopmentofTaoYuanmig’suninhibitedcharacter.Firstly,TaoKan,hisgreat-grandfathermadegreatcontributionsfortheestablishmentoftheEastJindynastyandhisrankisonlyinferiortotheemperor.Furthermore,hisgrandfatherMenJiawasaveryfamousscholaratthattimewhoshowedgreatinterestinTaoismandConfucianismwhichexertedmuchinfluenceonTaoYuanming.HeprovidedhimwithalotofbookssuchasTaoTeChing(老子),Zhuagzi（庄子）andmyths,etctolethimlearnthehistoryandtheancientthoughts.HisfatheractedasTaiShou（太守）,aneparchymagistrate.TaoYuanmingwasproundofhisfamilyandhopedsincerelythathecanalsosucceedtoachievehispoliticalaspirationinhisyouth.However,TaoYuanmingdidnotgothroughmuchfamilyprosperity.Hisfatherdiedwhenhewasonlyeightyearsoldandfouryearslaterhismotherpassedaway.TaoYuanminghoveredbetweenofficialdomandreclusionduringthisstage.Atthattime,theConfucianismthought“Anexcellentscholarshouldbeanofficial”(“学而优则仕”)isveryprevalent.Thatistosay,itisacriteriontoevaluatesomeoneissuccessfulornot.Sonearlyalloftheliteratiwanttogetthegovernmentpositionstoachievetheirpoliticalideals.Attheageof29,hedidminorofficialwhichwascalledJiJiu(祭酒),butsoonhedecidedtoresignbecauseofhisstraightforwardandimpartialtraits.However,hehadtoworkforthegovernmentbytheforceofhardlifeathismiddleage.WhenheactedasthemagistrateofPengZe(彭泽)county,thelastpositionofhisofficialdom,hedidnotwanttoseethegovernor,saying,“I’mnotbowingdowntosomeclodhopperforameaslybushelofrice.”andthenresigned.Thethirteen-yearofficiallifeistheprocessoftrying,disappointmentandfinallydespairfortherealizationofhisgreataspiration.HisFu(赋)ofHomewardHo!(归去来兮辞)embodiedthedeterminationtobreakwiththeupperrulingclass.Fromthenonhe6neverlefthisvillage.HissecondwifeladyZhaiShihasthesamemindandpursuitwithhim.Theyworkedtogether,enjoyingthepovertyandhumility.TheendoftheEasternJinDynastywaschaos.ThepopularityofBuddhismpromotedtheappearanceofthepastoralpoetofTaoYuanmingwholivedbeyondthesecular.Itcanbeseenfromhisdeedsthatheisamanwholovesnatureandhatesbinding.Forexample:BacktoCountryLife(I)I'veloathedthemaddingcrowdsinceIwasaboyWhilehillsandmountainshavefilledmewithjoy.BymistakeIsoughtmundanecareersAndgotentrappedinthemforthirtyyears.Birdsinthecagewouldlongforwoodedhills;Fishinthepondwouldyearnforflowingrills.…….(Tr.byWangRongpei)Itmustbeveryuncomfortabletoletsuchastraightforwardmanbearthedarknessandboringoftheofficialdom.Whenhereallyabandonedtheso-called“fameandfortune”,hegotarealworldwithinfinitespace.Fromhispoems,wecanseethathisspiritualworldmovedtowardsahigherlevel.Thereaderswillyearnforthepicturesquescenery,thesimplelifeandalsohisspiritualworld.ManyofthegreatpoetssincetheTangdynasty,likeLiBai,DuFu,BaiJuyi,SuShi,LuYou,respectedTaoYuanmingverymuch.Furthermore,TaoYuanming’spoetryhadatremendousimpactontheirartcreationandlifeattitudes.Hispoetryrepresents“awakeningofhumanity”.Thatis,peoplenotonlyshouldhaveamateriallifeandthespirituallifeisalsoveryimportant.Whenwereadthesentences“Ipluckhedge-sidechrysanthemumswithpleasure,andseethetranquilSouthernMountinleisure.”(DrinkingWine)again,wewillfeelthefreedomandstretchofoursoul.Influencedbyzeitgeistandfamilyenvironment,heacceptedthethoughtsofConfucianismandTaoismwhichdevelophistwodifferentinclinationsof“Andhillsbecamemynatural7compeers(性本爱丘山)”and“withaimstoridetheseasandseizethestar(猛志逸四海)”.TaoisadistinguishedpoetinthehistoryofChineseliterature,whocreatedanewartisticrealmofpastoralpoetryandmadethepastoralpoetrybecomeanimportantformintheTangandSongdynasty.Tao’sworkfollowstheflavorofWeiJinpoetryandentersintoamorepureandmaturesituation.Themellowandprofoundmood,thesimpleandnaturaldictionconstituteanewandbeautifultypeofChinesepoetry.Itisinseparablewithhisabundantrurallifeexperience.Inaword,TaolaidamonumentalpositioninthehistoryofChineseliterature.1.4TaoYuanming’sPastoralPoetryTaoYuanmingbringsthesubjectofidylliclifeintopoetry,creatinganewfieldofliterary—pastoralpoetry.Allofthemcomefromreality.Heisnotjustaspectatoroftherurallifebutoneofthem.Sohecanopenupanewfield.Thecontentmainlyhasfouraspects.1.4.1ANaturalDepictionoftheIdyllicPictureThepastoralsceneryandthefarminglifewhichTaowrotearefullyintegratedwitheachother.Hedoesnotextolthemountainandforestinawideperspectivebutportraytherurallifetoshowitsbeauty,prosperityandpeacefulness.Forexample,BacktoCountryLife(I)describestheenjoyablepastorallifeaftertheauthorreturnstohishometownandshowsthehatredofofficiallifeandalsoexpressesthehappinesswhenheexposeshimselftothenatureagain.Here,thepoetdoesnotpraisetherurallife