abandons rhyme and slick diction of the original and uses free verse and uncluttered writing, put emphasis on the migration of imagery, artistic conception and ambience…nowadays most of the good English versions of classical Chinese poetry are unrhymed.”Xu rebuts in the preface of A Comparative Study on English Translators of Old Gems: Whether a translator should abandons rhyme and slick diction of the original poem cannot be migrated in any case.
Being confident for himself, Xu takes other’s praise as a matter of course. Someone may regard it as his conceit, but he deems it is a responsibility not decline to shoulder. Apropos of the criticisms on his translation theories and translation practice, he would study them carefully and write another article to restate his viewpoints and use examples to disprove of the objector in a tit-for-tat way. It consequentially brings about the strong argument of the person concerned and result in ceaseless go-around. A scholar once said:”Chinese translation circles would have some quietude and lose some animation without Xu Yuanchong.”
2. Three Aspects of Beauty and Their Features
In summarizing and analyzing the thoughts of the previous the otists, Xu developed his own translation theories into one phrase:”art, creation of the best as in rivalry. (美化之艺术，创优似竞赛)”Among these theories,” three aspects of beauty” is inspired from Lu Xun’ s viewpoint of “three aspects of beauty” in philology and Lin Yutang ’ s “beauty as a standard of translated texts”.
The theory of “three aspects of beauty” is the first translation theory Xu