本体诗歌翻译理论主要探讨译文与原文在形式与内容上的关系。译文与原文应该达到形似还是神似，译者应该求真还是求美，这是翻译界一直争论的话题。按照“形似与神似，求真与求美”的关系来分析江枫先生对艾米莉·狄金森的两首诗歌“暴风雨夜”和“篱笆那边”的翻译，可以看出，标点符号、遣词、诗歌的韵式和诗人的创作风格等方面体现了江枫译文的特点和风格：译文选词简单但富有张力，行文简约而内敛，与原诗风格颇似；但由于过于追求简约而稍显生硬和晦涩。总之，江枫的译文是形似与神似结合的典范，体现其“形似而后神似”的主张以及“简约而忠实”的风格，但并未完全实现“求真与求美”的完美结合。

The ontology of poetry translation theory focuses on the relationship between form and spirit of the translation work and the original work. Form similarity and spirit similarity, pursuit of truth and pursuit of beauty, which one is more important to a translator and his/her translation? The problem is a noticeable controversy among translation schools. This paper aims to discuss the relationship between form similarity and spirit similarity and that between pursuit of truth and pursuit of beauty. Moreover, the paper analyzes Jiang Feng’s translation of two poems by Emily Dickinson: Wild Nights and Over the fence. The analysis is conducted in terms of punctuation, choice of words, rhyme scheme, and writing style, etc. The conclusion is drawn as follows: Jiang’s translation usually prefers simple words with full tension; being concise and implicit, Jiang’s translation, resembles Dickinson’s original poems to much degree; but Jiang’s translation is a little bit rigid and i

形似与神似是翻译中最常见到的问题，也是两种最基本和主要的翻译方法。究竟何时需要形似、何时需要神似，一直是翻译界争论的问题。由于英汉两种语言和文化背景的极大不同，翻译时更多时候以神似为主。本文将用一些翻译中的经典例子来探讨怎样达到原文与译文最大程度的相似。

Form similarity and spirit similarity, which are the basic and important methods, are two problems happened often in translation. It is a question when either of the method should be used. Because of the difference of language and culture between Chinese and English, spirit similarity is more frequently used. This essay will discuss how to achieve the similarity between translation and original text from some classic examples.

等效思维方法是物理探究常用方法之一，通过两类问题分析和总结归纳，指出“等效”法不能由于“形似”而盲目套用，而要结合物理问题特点合理“等效”。

The equivalent of thinking is one of the common methods of physical inquiry,articles by two types of problem analysis and summarized,that“equivalent”method can not be due to the“shape”and applied blindly,but to combine the characteristics of reasonable physical problems“equivalent”.

通过对卓振英译《大中华文库·楚辞》“形式”的研究，发现卓振英通过还原法、调序法、延伸法、实现译文押韵；通过调序法、换字法、标点法再现原文节奏；并通过音节缩略、以短代长、信息转移实现样式的形似。通过对其“诗化”翻译技巧的探讨，以期给中国典籍英译“以诗译诗”一些启示。

Through the study on the formal beauty of"The Verse of Chu" by Zhuo Zhenying, the writer finds that by ways of restoration, reordering and extension,Zhuo realizes the reproduc-tion of rhyming in his translation;by means of reordering, substi-tution and punctuation,he reproduces the effect of rhythm;through approaches such as syllable abbreviation, information transferring, replacement of sentences with phrases,he success-fully reproduces number of lines. The exploration into the trans-lation skills on"formal beauty"is intended to provide some en-lightenment on translating Chinese classics.

自然生人神话中具有代表性的主要有7类,分别是水生人、石生人、洞穴生人、蛋生人、竹生人、葫芦生人、树生人。其中5类分别发展为感生神话,唯有洞穴生人与葫芦生人神话没有发展为感生形式。这主要是因为洞穴与葫芦形似母腹,已经包含了女性生殖崇拜的内涵。自然生人神话顺时而变,保持了传承的活力,成为相关仪式传承发展的内驱力,从而形成了特色鲜明、历史悠久的民族文化元素。

There are seven representative categories of myths of nature makes man,namely,waters make man,stones make man,caves make man,eggs make man,baboos make man,gourds make man, trees make man and so on;five of them respectively developed into induced myths except the myths of ca-ves make man and gourds make man.They both did not develop into induced form because the shape of ca-ve and gourd are like that of the womb and they had contained the connotation of the females procreation adoration;The myths of nature makes man changed over time,maintaining the vitality of heritage and be-came a driving force for the inheritance and development of related rituals,thus forming a distinctive na-tional cultural element with long history.