從接受美學(xué)角度看陶淵明田園詩歌的不同英譯本分析研究 漢語言文學(xué)專業(yè)

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 錯(cuò)誤！未定義書簽。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 要魏晉風(fēng)骨一直是中國文人所關(guān)心的主題，而陶淵明則是代表人物，為田園詩歌創(chuàng)作做出了卓越貢獻(xiàn)。目前關(guān)于陶淵明詩歌的研究不少，但大多集中于文學(xué)探究，從中可以看出對(duì)其詩歌翻譯還缺乏相應(yīng)的理論支撐和研究。如何把這種以詩歌形式所傳達(dá)的文化有效地傳遞給外國讀者一直是翻譯界探尋的問題。接受美學(xué)因其研究對(duì)象和范圍的交叉性被引入了這一領(lǐng)域。本論文以接受美學(xué)作為理論基礎(chǔ)對(duì)陶淵明田園詩歌的不同英譯本進(jìn)行了詳細(xì)分析。接受美學(xué)是文學(xué)研究中一種新的范式和方法，接受理論認(rèn)為作品本身是一個(gè)召喚結(jié)構(gòu)，其中蘊(yùn)藏著許多的不定點(diǎn)和意義空白等待讀者以自己的期待視野與之進(jìn)行積極的對(duì)話交流最終共同完成對(duì)作品的理解重構(gòu)。接受理論把目光轉(zhuǎn)向文本和讀者的互動(dòng)關(guān)系上，強(qiáng)調(diào)讀者（包括譯者）的主觀能動(dòng)性。陶淵明田園詩歌中自然純美的詩風(fēng)，豐富的意象，唯美的意境，靈動(dòng)的神韻，深厚的文化底蘊(yùn)便是作品本身的不定點(diǎn)。如何譯出其中的審美效果，使讀者的期待視野與原作積極互動(dòng)形成視域融合，便是接受美學(xué)理論的指導(dǎo)意義之所在。本文共由六部分構(gòu)成。第一部分為引言部分，簡要概述本研究的研究現(xiàn)狀，研究目的和背景以及本論文的整體框架和應(yīng)用理論。第二部分為文獻(xiàn)綜述，主要對(duì)中西方田園詩歌進(jìn)行了簡要概述，然后介紹了陶淵明及其田園詩歌的思想內(nèi)涵。第三部分介紹了中西方翻譯標(biāo)準(zhǔn)問題并列出了陶淵明田園詩歌的翻譯版本。第三章為理論框架，本章對(duì)接受美學(xué)理論進(jìn)行了詳細(xì)闡述并對(duì)接受美學(xué)中兩個(gè)重要術(shù)語即“期待視野”和“不定點(diǎn)”(或“意義空白”)展開論述。第四章為論文的中心部分，為具體的研究分析過程,主要選取楊憲益，汪榕培和戴維·亨頓的陶淵明詩歌英譯本從接受美學(xué)的角度對(duì)三位的翻譯思想，翻譯策略和翻譯版本進(jìn)行詳細(xì)探討。其中楊憲益的《漢魏六朝詩文選》為選譯，汪榕培和戴維·亨頓為全譯本。第六章為結(jié)論。本論文對(duì)陶淵明田園詩歌翻譯進(jìn)行分析，探討陶淵明田園詩歌的主要譯本中采用的翻譯策略和接受美學(xué)理論之間的關(guān)系，并提出了自己對(duì)于翻譯方法的建議。(1)要重視讀者在翻譯過程中的地位和作用，但是又不能過分夸大讀者作用，不能夠否定傳統(tǒng)翻譯標(biāo)準(zhǔn)。(2)期待視野個(gè)人差異性給翻譯帶來了發(fā)揮的想象空間，鼓勵(lì)譯者適當(dāng)?shù)膭?chuàng)造性，鼓勵(lì)譯者運(yùn)用靈活的翻譯策略去翻譯陶淵明田園詩歌，尤其是對(duì)疊詞，意象和文化詞語的翻譯。(3)要注意讀者的時(shí)代背景，充分考慮讀者的接受程度，既要滿足讀者的審美需要，又要擴(kuò)大其期待視野。iii關(guān)鍵詞：陶淵明田園詩歌,接受美學(xué),期待視野,不定點(diǎn),翻譯策略分類號(hào)：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(忒奧克里托斯)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（莊子）andmyths,etctolethimlearnthehistoryandtheancientthoughts.HisfatheractedasTaiShou（太守）,aneparchymagistrate.TaoYuanmingwasproundofhisfamilyandhopedsincerelythathecanalsosucceedtoachievehispoliticalaspirationinhisyouth.However,TaoYuanmingdidnotgothroughmuchfamilyprosperity.Hisfatherdiedwhenhewasonlyeightyearsoldandfouryearslaterhismotherpassedaway.TaoYuanminghoveredbetweenofficialdomandreclusionduringthisstage.Atthattime,theConfucianismthought“Anexcellentscholarshouldbeanofficial”(“學(xué)而優(yōu)則仕”)isveryprevalent.Thatistosay,itisacriteriontoevaluatesomeoneissuccessfulornot.Sonearlyalloftheliteratiwanttogetthegovernmentpositionstoachievetheirpoliticalideals.Attheageof29,hedidminorofficialwhichwascalledJiJiu(祭酒),butsoonhedecidedtoresignbecauseofhisstraightforwardandimpartialtraits.However,hehadtoworkforthegovernmentbytheforceofhardlifeathismiddleage.WhenheactedasthemagistrateofPengZe(彭澤)county,thelastpositionofhisofficialdom,hedidnotwanttoseethegovernor,saying,“I’mnotbowingdowntosomeclodhopperforameaslybushelofrice.”andthenresigned.Thethirteen-yearofficiallifeistheprocessoftrying,disappointmentandfinallydespairfortherealizationofhisgreataspiration.HisFu(賦)ofHomewardHo!(歸去來兮辭)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(性本愛丘山)”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