Song Cun, a small selection of the Song Dynasty, was written for it. In the spring of March, the poet went to visit the city of * *, and when he saw the spring scenery and charming rural scenery, he was relaxed and happy, so he wrote this poem. Through the performance of brocade, this poem arranges the scenes of smoky villages, people's homes, pavilions and flowers together, forming an idyllic scenery map, creating an elegant artistic conception, and expressing the poet's love and praise for nature and positive attitude towards life. Many scholars have highly praised this poem. Jin Bo, a modern writer, praised in Jin Bo's On Children's Poetry: "Sound, meaning and painting have been well integrated." Modern linguist Yang Chunlin's Dictionary of Rhetoric Art in China also pointed out that the poem is "vivid and implicit, natural and appropriate." Guo Yanquan, a member of the Modern Writers Association, mentioned in the poem "Dream of Hometown * * *",' I think I am full of fun and interest.
In addition, Bian Xiao also sent five English versions, namely Xu Jingcheng, Zhao Yanchun, Qin Dachuan and Sang. The selected editions are sorted according to the time of collection and acquisition, so as to provide entertainment for readers, classroom teaching and related academic research.
From the perspective of systemic functional linguistics, there is almost only one process in the original poem. So, is this "walk" a glimpse of the translation of 1 (a behavioral process), or does it take three or four miles to translate 2, 3 and 4 in one breath (a material process)? Here, we need to contact the situational context at that time (situational context is reserved for readers to investigate and supplement) and context (full text): "Siwu Smoke Village" and the "Liuqi Pavilion" mentioned later. Bian Xiao thinks that both "Smoke Village" and "Pavilion" are telephoto (otherwise there could not be four or five or six or seven), which is consistent with our cognitive experience of painting appreciation. The last "eighty or ninety flowers" in the poem switched from the telephoto lens to the distant place of myopia, specifically from the perspective of "flowers". The whole article reflects the changes of the author's vision, sight distance, perspective and viewpoint. Bian Xiao suggested that you refer to "Elements of Spatial Language and Its Influence on Poetry Style" (Professor Shao Junhang). The second question is about the addition of translation. Is it reasonable to add the translator's subjective material process to the text? For example, I passed by and I met by chance have been added into some translations. In the original poem, however, it is a montage of static pictures, leaving readers with a blank of understanding. Is it reasonable for some poems to fill in the "white" of this process with "true"? Welcome everyone to provide their own opinions in the message room!