On the English Translation of Li Bai's "Six Poems of Border Tune" (No. 1) under the “Three-Level Poetry Translation Criteria”

Tang poetry, a treasure of Chinese historical and cultural heritage, represents the highest level of classical Chinese poetry. As one of the famous representatives of Tang poetry, Li Bai’s poetry has great poetic and aesthetic value. The translation of Li Bai’s poetry catches much importance amid the "Chinese culture going global" and cultural self-confidence. This article takes Dr. Wang Feng’s “Three-Level Poetry Translation Criteria” as the theoretical basis, and analyses six English translations of Li Bai's "Six Poems of Border Tune" (No. 1). Based on these analyses, the authors aim to demonstrate that the theory is reasonable and feasible, which provides references and suggestions for the translation studies of Li Bai’s poetry in the future. Keywords—Three-Level Poetry Translation Criteria, English Translation of Li Bai’s poetry, Six Poems of Border Tune (No. 1)


I. INTRODUCTION
During the Tang   O'er Tienshan is snow even in April.
Only boundless wastes; no flowers appear.
One never sees the colors of spring here.
At morn, men fight where the drum directs them.
At night, on their saddles, they sleep astride.
Ready, with the swords hanging on their waists, To thrust through and capture Loulan with pride.

Version 4：
The Tien-shan peaks still glisten, In robes of spotless white; To songs of Spring I listen, But see no flowers around.
The ground is bare and dreary, Tienshan, the Heaven Mountains.
Lurlans were western tribes.

Version 6：
ON THE FRONTIER 'Tis June --and still on Altai there lies the bitter snow.
Amid the chill of winter no happy flowers grow.
Although the wailing flute may sing "The Willow of the Spring," The colour of the vernal leaves this place can never know.
The kettledrum at daylight calls forth to war's array.
In midnight sleep our saddles we dare not put away. pride" in version 3 respectively express the poet's ambition to kill the enemies for his country.

Analysis at the Middle Level
The theory of "Harmony" can only guide poetry translation practice and poetry criticism at the macro level.
Therefore, it is necessary to put forward the theory of

Similarity of Senses
"Similarity of senses" means that the meaning in the translation and that in the original is similar. Chinese culture belongs to high context culture, while English

Analysis at the Micro Level: Eight Beauties
Dr. Wang (2015) put forward the the "Eight Beauties" at the micro level, which is based on Xu Yuanchong's "Three Beauties Theory" --"beauty in sense, sound and form"; Gu Zhengkun's "Five Images Theory" including "visual image, musical image, semantic image, allusive image and style image" and Lin Yutang's "Five Beauties Theory", which includes beauties in sound, sense, emotion, temperament and form. The theory of "Eight Beauties" is a more comprehensive criteria in poetry translation.

Beauty of Musicality
Beauty of musicality refers to the beauty formed by the tone and rhythm of syllables in poetry. It's important to reproduce its musical beauty in Chinese poetry by using the metrical patterns in English poetry. In the original poem, the last character of each line rhymes with "an", such as "寒( han)"、 "看(kan)" 、"鞍(an)"、 "兰(lan)", which reflects the beauty of musicality. There are metrical style and free verse style in poetry translation. Version 1, 2, 4 and 6 are in the metrical style, which significantly reflects the musical aesthetics and refinement. Others use the free verse style, which results in the dearth of "beauty of musicality."

Beauty of Images
Beauty of images refers to the combination of subjective feelings and external objects. And it refers to the visual beauty formed by the perceptual elements of the vivid imagery or image group in reality or imagination.
"雪" and "寒" are images about the weather, which aim to illustrate that the weather is extremely bad and reflect the hardships of frontier life. "金鼓" and "玉鞍" are images of frontier war, which reflect the stress and tension of military life. Version 4 by Charles Budd uses a metaphor in translation as in "The Tien-shan peaks still glisten in robes of spotless white", but it seems to depict a beautiful scene and cannot reflect the coldness of the weather.

Beauty of Emotion
Beauty

Beauty of Diction
The beauty of diction requires the translator to respect the hard work of the original author in the creation, so that the translation at the word level is suitable to express the content. For example, "晓(xiao)" and "宵(xiao)" have the same pronunciation in Chinese, but "晓(xiao)" means "in the morning", "宵(xiao)" refers to the "night". These two words are antithesis, enhancing the expression effect. Xu Zhongjie, as in Version 3, translated them into "at morn" and "at dawn", which well suit the spirit of the original with a faithful diction to some degree. Jiezi was sent to the Western Region to kill the king of Loulan and to make contributions to the country. The last two lines of this poem express the patriotic passion of frontier soldiers. In these English versions, "楼兰" was translated as "Lowland", "Lou-lan", and "Lurlans". In fact, "楼兰" is an important and common image in Chinese poetry; thus, it can be translated as "Loulan" with a note with detailed information.

Beauty of Gestalt
The beauties of form, musicality, image, emotion, implication, diction, and allusion are discussed above, with other beauties not discussed in this article, which as a whole form the beauty of gestalt. The beauty of gestalt is an organized whole perceived as more than the sum of its parts. Generally speaking, Zhao Yanchun's and Sun Dayu's translations enjoy the beauty of gestalt from many aspects. Jiezi was sent to the Western Region to kill him and make contributions to the country.

V. CONCLUSION
Based on the comprehensive analysis of the There are still a few limitations in this paper, such as the comments on these translations may be subjective, and the translation provided by the co-authors is not perfect.
The authors do hope that critical perspectives and