How do foreigners view China's poems?

Please enter your answer ... The translator of classical poetry is not an ancient person, and he does not need to translate for the ancient people, whether the original poem belongs to the ancient people or the translated poem belongs to the ancient people. In fact, English poetry with traditional meter is not popular among contemporary English readers. Since the New Poetry Movement, the creation of English poetry has completely got rid of the shackles of traditional meter, and so has translation. Pound, the head coach of the American New Poetry Movement, translated 18 China classical poems in the form of free poems, which was very popular, set off an upsurge of translating China's poems, and also delivered foreign nutrition to the new generation of poets who just started. Willie, a British sinologist, followed closely. Contrary to the traditional sinologist's insistence on the concept of English poetry meter, he adopted the free "jumping method" to translate it into Chinese. It is precisely because Pound and Willy's translation ideas are in line with the poetics of the new era that their translation can be deeply rooted in the hearts of the people, and China's poems have begun to become household names in the English-speaking world. Among them, Pound's translation of Li Bai's Long March and Wei Li's translation of Bai Juyi's One Hundred and Thirty Rhymes have already become classics of English poetry and entered various authoritative selections of British and American literary works. This is the common sense and conclusion in the history of English poetry development and China poetry translation. Without understanding this period of history, examining the success or failure of these translations, or putting it another way, without the baptism of modern English poetry movement, and unwilling or unable to accept contemporary poetics and translation concepts, any translator, even with a high level of English, can't be competent for the English translation of Chinese poems unless his translation is not aimed at modern English readers, but just to entertain himself behind closed doors. Unfortunately, the translated version has no readers, just like the original is stillborn, even if it is forcibly sent out, there is no chance of new life. There is no need to "send away". Since Pound published Cathy, a pamphlet of China's poems translated into English in 19 15, some spirits of China's classical poems have long been "taken away" by European and American poets and absorbed into English poems, which has become an inseparable part of its national literature. On the other hand, with the help of generations of China translators and poets such as Feng Zhi, Cha and Bei Dao, foreign literature gained an indelible China, and modern poetry not only came from Europe and America, but also from China. This two-way translation gradually broke down the barriers of national literature. As early as 1827, Goethe said, "I believe more and more that poetry is the spiritual wealth of mankind ... national literature is nothing now, and the era of world literature is coming soon. Now everyone should play their part and promote his early arrival. " In the 2 1 century, ethnic literature was increasingly replaced by translated literature and world literature. Nowadays, national literature is not lost in translation, but gained in translation, and only what is gained in translation can become world literature. If any kind of ancient literature can't keep pace with contemporary poetics by means of intralingual or interlingual translation, there is no reason to participate in the development of today's world literature, nor will it become the cultural heritage of the whole world in the future. Let's expect more China classical poems to enter the world, and let Li Bai, Du Like, Shakespeare and Tolstoy become world literary heritages.