宋词英译中江南文化翻译策略

尚晓进 顾怡燕

[摘 要] 江南是风景美丽，繁华的地方，是人间的天堂。它有那么多的美丽醉人的神话、传说和故事。文章主要应用许渊冲先生的三美策略，从花草树木、水、山、歌伎舞女和酒五个不同方面展示宋词中江南文化的翻译策略。

[关键词] 宋词;文化;翻译

[中图分类号]H315.9 [文献标志码]A

古代，江南包括江浙在内的较大的地区，不一定指长江之南，它可以在长江东南，长江下游。只要离长江不远，美丽繁华的地区，都可称为江南。这与现在的长三角大致相似。比如扬州，位置在江北，但是很像江南，在宋词当中均称为江南。柳永的《望海潮》：“东南形胜，三吴都会，钱塘自古豪华”，此杭州之繁华也。杜牧的“春风十里扬州路”，此扬州之美丽和繁华也。宋词用曲调吟唱，其中有九个与江南有关的曲调：《梦江南》《望江南》《忆江南》《望江东》《江南春》《扬州慢》《醉桃园》《桃园忆故人》《惜琼花》。宋词在当时，特别在江南的传唱是空前的。无论在城市还是乡村，“凡有井水饮处皆能歌柳词”。

展示古诗词曲中江南文化的策略是严复的信、达、雅。信是忠实，达是通顺，雅是给人美观。严复提出的信、达、雅已有百年;信与达广为接受，雅有分歧。有的认为应取消雅，有的认为应对雅作不同的解释。对于古诗词曲的翻译来说，雅既不能取消，也不能作其他解释。它是必须有的。因为与现代语言相比，古诗词曲在意义方面，句子结构方面，音韵方面都是雅的，甚至是很雅的。当然，是美的，甚至是很美的[1]33。

许渊冲先生提出了三美策略。他说：“尽量要保存原文的意美、音美、形美。所谓意美，就是不但要译原文的表层形式，还更要译文深层内容，甚至言外之意。如果原文的内容和形式统一，那翻译比较容易;如果内容和形式有矛盾，那只好舍形式而取内容;如果原文的形式可以包括几种不同的内容。那就要选择最美的一种，所以说是意美。其次，所谓音美，是要尽可能传达原文的音韵节奏，双声叠韵。原文押韵，译文要尽可能押韵;原文有平仄，译文可以改为轻重音;原文多用双声词，译文也可以用双声词。最后，所谓形美，包括句行的长短，句间的对仗，词句的重复等。”三美讲得完整，具体。可作为翻译的一面镜子，时时照看。

江南可译为south of the Yangtze River，或south of the Yangtze，或southern lands，或south of the low reaches of the Yangtze，或southeast of the Yangtze。笔者从五个方面分析翻译的策略。

一、花草树木

（一）拟人

拟人分为六种：对话、动作、陈述、自述、心理和综合。将花草树木视为人是最常用的方法。拟人辞格可以使一切没有生命的东西活起来，而且赋与它们似人的思想感情。如蒋捷的《梅花引》：“白鸥问我泊孤舟，是身留，是心留？心若留时，何事锁眉头？是对话。”

例1：寇准《江南春》

波渺渺，柳依依。孤村芳草远，斜日杏花飞。江南春尽离肠断，满汀洲人未归。

译文：

Tune：Spring in the South of the Yangtze River

Without end the clear green waves flow and flow，

With affection sway and sway the tender willows.

By the lone village the grass with the scent of our love extends to the horizon，

In the setting sunlight the apricot blossoms fading like my face here and there fly.

I'm heartbroken in the south of the Yangtze River in the spring late，

Clover fern fills the shoal，but my dear has not been back to my bed.

“波渺渺”，意為绿波向着远方流呀流，没有感情。柳依依，意为柳枝不断摇曳，招手。此句没有明显显示感情。我们应采用拟人方法，显露情感，让译语读者了解柳树的深情。译者将“柳依依”译为“With affection sway and sway the tender willows”，增加了with affection（带着爱情）意为柳枝带着柔情不断地摇曳，招手。这与上句的“波渺渺”——绿波不断地向着远方流呀流形成对照，柔情依依不断招手的是女子，无情地越走越远的是他的爱人，王孙兮不归。

（二）比喻

古诗词曲中，比喻可谓是“俯拾皆是”。它使语言生动，它为诗词添美增色。它可分为明喻和暗喻。明喻就是清除地表明用A比方B，其格式为：本体加比喻词加喻体。比喻词通常为like，seem等。暗喻不明确表示比方，比喻词通常为是，或省略[2]236。

例2：谢逸《江城子》

杏花村馆酒旗风。水溶溶，飏残红。野渡舟横，杨柳绿阴浓。望断江南山色远，人不见，草连空。

夕阳楼外晚烟笼。粉香融，淡眉峰。记得年时，相见画屏中。只有关山今夜月，千里外，素光同。

译文：

Tune：A Riverside Town

By the water over shops the streamers flutter in a breeze.

The rippling waves murmur in the clear winding stream，

The remaining red flowers fly high and low.

The quiet boat lies empty at the ferry alone，

The luxuriant weeping willows shed thick green shade.

I try to see all the mountains in the southern land in vain，

And I fail to see my intoxicating beauty anywhere，

I can only see the green like her skirt here and there.

Last year beyond the pavilion the sun set and dusk spread.

From her snow-like skin came the warm refreshing scent，

Her brows，the distant hills，were drawn lightly.

I recollect in those hours in last spring so clearly

We shared the fragrant pillow behind the screen colorful.

Tonight the moon shines on all the passes and mountains，

Even a thousand miles away it appears

As bright and pure like our love as here.

我們可用比喻描写这种幻觉。译者应用明喻，将“草连空”译为“the green like her skirt here and there.”我看到远远近近的绿草都像她的裙子，他闻到了醉人的清香。他不由自主奔了过去，拥抱裙子，狂吻裙子，他喃喃自语：你好香、好甜、好暖和。随后他躺在她身上，酣睡到太阳高升。译语读着会跑得更快，吻得更狂，睡得更香。

（三）增译花卉树木的特性

在翻译时，有时应译出花卉树木的香味、色彩。

例3：柳永《望海潮》

东南形胜，三吴都会，钱塘自古繁华。烟柳画桥，风帘翠幕，参差十万人家。云树绕堤沙。怒涛卷霜雪，天堑无涯。市列珠玑，户盈罗绮，竞豪奢。

重湖叠巘清嘉。有三秋桂子，十里荷花。羌管弄晴，菱歌泛夜，嬉嬉钓叟莲娃。千骑拥高牙。乘醉听箫鼓，吟赏烟霞。异日图将好景，归去凤池夸。

译文：

Tune：Watching the Tidal Bore

In the southeast，with the beauty of the scene，the most famous，

And as one of the largest cities in the Kingdom of Wu ancient，

Hangzhou since olden days has been the most flourishing.

The misty willows and painted bridges seem in paintings，

The bamboo curtains hang at the doors and windows，

There are more than hundred thousands of households.

Lining up on the banks of the Qiantang River trees are lost in the sky.

In the broad river the huge waves surge eastward snow-white，

The clear river appears to be endlessly long and vast.

In the shops pearls of different sizes and shapes sparkle，

Before the doors shown are pretty colored silk and satin，

The shop owners vie with pride in their riches and luxury.

With inner and outer lakes，hill upon hill，clear and pretty is the West Lake.

In autumn here and there floats the intoxicating scent of flowers of bays，

In summer ten miles of lotuses with fragrance are in bloom.

The Qiang pipes play melodious music under the sky blue，

Under the bright moon anywhere the songs of water chestnut are heard，

Loudly laugh and sing the fishermen and lotus-seedpods-gathering girls.

The guards on horses with colorful flags pass by one by one.

With interest you listen to the drums and pipes when drunk，

Appreciating far and near the green leaves and red flowers.

You recite the poems about the beautiful scenery on fine hours.

Before going back，you'd better paint the pictures of them

Which you should to the emperor and high officials present.

在翻译“有三秋桂子，十里荷花”时应译出桂花和荷花的特性。译者将“有三秋桂子，十里荷花”译为“In autumn here and there floats the intoxicating scent of flowers of bays，In summer ten miles of lotuses with fragrance are in bloom.”意为秋天到处漂浮着桂花醉人的芬芳，夏天荷花十里盛开，清香弥漫。译出了花的特征，香气和美丽，花的迷人之处。

二、水文化

（一）同义反复

同义反复是用两个同义字来强化。

例4：潘阆《酒泉子》

长忆观潮，满郭人争江上望，来疑沧海尽成空，万面鼓声中。

弄潮儿向涛头立，手把红旗旗不湿。别来几向梦中看，梦觉尚心寒。

译文：

Tune：Song of Wine Fountain

I often recollect watching the grand tide in Hangzhou on the scenic spot，

All the people crowded out of the city madly to watch it on the seashore.

The whole sea seemed to be all of a sudden empty，

With sound as a ten thousand drums beating loudly.

The tide players stood on the wave crests，

Holding red flags in their hands not wet.

Since leaving there，many times I dream of the sight，

Awake at midnight，I still shiver and shake with fright.

我們可用同义反复法，译出词人对弄潮儿的心惊胆寒的感受。 译者将“梦觉尚心寒"译为“Awake at midnight I still shiver and shake with fright.”发抖用了两个同义字：shake and shiver，达到了强化效果。词人表示梦中醒来也被惊险的弄潮情景吓得胆颤心惊。烘托弄潮儿的精采表演。源语读者，包括李白都想看弄潮。译语读者更想去看弄潮，甚至自己去弄潮了。

（二）不译地名，译当地的文化

有时候我们不译有关的地名，而译当地的文化。因为译语读者不能从地名联想到有关的文化。

例5：严蕊《如梦令》

道是梨花不是。道是杏花不是。白白与红红，别是东风情味。曾记，曾记，人在武陵微醉。

译文：

Tune： Like a Dream

Pear blossoms，they look like，

But they are not.

Peach blossoms，they look like，

But they are not.

The trees boast of two colored blossoms，the white and red ones，

From their sweet soft hearts east breeze blows out special pure love.

Oh，I remember，

Oh，I remember，

Once in fairyland I loved the trees

Along the Peach Blossom Stream.

词人说此花像桃花，但不是桃花，像杏花，但又不是杏花。它超越春天百花。它属于桃源之花，花名就是桃花。她还说她在武陵看到过它。桃花源在武陵桃花溪深处桃花林尽头。桃花源也称世外桃源，指不受外界影响的地方，或幻想中的美好世界。翻译时，不必译武陵，只须译出其文化。译者将“人在武陵微醉”译为“once in fairyland I loved the trees/Along the Peach Blossoms Stream.”意为：我曾在桃花溪边的桃花仙境中的为桃花陶醉。源语读者一定会十分激动，他们会成群结对，日以继夜来到桃花源。因为那是一个悠闲、平安、长生不老的地方。如只译武陵，译语读者联想不到桃源仙境。

（三）对不同的背景说法进行选择

在翻译时，要注意诗词的背景。如果背景有多种说法，应该尽力找到最为正确适当的版本。

例6：姜夔《揚州慢》

淮左名都，竹西佳处，解鞍少驻初程。过春风十里，尽荠麦青青。自胡马窥江去后;废池乔木，犹厌言兵。渐黄昏，清角吹寒，都在空城。

杜郎俊赏，算而今、重到须惊。纵豆蔻词工，青楼梦好，难赋深情。二十四桥仍在，波心荡、冷月无声。念桥边红药，年年知为谁生！

译文：

Tune：Slow Song of Yangzhou City

In Yangzhou whose fame spreading the world round，

In the long and broad well-known Huai River's south，

And on a road quite near

West Bamboo Pavilion，

I dismount from a horse for a short time.

I pass the flourishing street of ten miles，

Now it is covered with thick wild green wheat.

Since the city was trampled by enemy horse heels，

The desolate broad ponds and trees tall

Fear to talk of battle fires and swords.

The eve is gradually approaching with sorrow，

The horn from the city gate moans and groans

Through the whole empty city.

Poet Du appreciated it greatly，

If he came back here one day，

He would be greatly amazed.

Even he was good at writing girls' beauty，so charming，

And sweet spring dreams in the green singing buildings，

He could not describe his feelings so chilly and miserable.

The Twenty- fourth Bridge recollects the merry hours in silence，

And under it the waves with grief gurgles，

The moon shivers on them without a word.

The herbaceous peonies red

By the old bridge depressed

Year after year bloom

Oh，after all，for whom？

在翻译时，我们应该对二十四桥进行注解，二十四桥的典故出自于杜牧的《寄扬州韩绰判官》：青山隐隐水迢迢，秋尽江南草未凋。二十四桥明月夜，玉人何处教吹箫。二十四桥有两种说法：一为扬州有二十四座桥，另一为扬州瘦西湖上的一座桥——名为二十四桥。第一种说法并不恰当，歌女不可能轮番去二十四座桥唱歌;而第二种说法是对的，时至今日，作为扬州重要的旅游景点，二十四桥上仍有人歌唱，吹箫。

通过注解，读者，特别是译语读者将了解到，二十四桥是美丽而热闹的景点，每晚有歌伎舞女在上面吹箫起舞，这会给予他们一些美妙的幻想，期待去扬州欣赏一番。

三、山文化

江南的山不高，但很秀丽。骚人墨客常把它们比作姑娘弯弯的眉头，或者清香的罗裙，或者调情的发针。

例7：张先：《醉垂鞭》

双蝶绣罗裙，东池宴，初相见。朱粉不深匀，闲花淡淡春。

细看诸处好，人人道，柳腰身。昨日乱山昏，来时衣上云。

译文：

Tune：Drunk with a Whip Hanging

Your skirt is embroidered with a pair of butterflies colorful，

At a happy feast table by the East Pool，

I will never forget I'm so lucky to make your acquaintance.

You are lightly powdered and roughed，

As leisure flowers display simple and elegant spring scene.

And any part of you is so delicate and fine，

Your waist is as slender as a branch of a weeping willow tree，

People observing you carefully are surprised.

You're the goddess with showers from the hills last night coming here，

Look，now still wet your pink silk skirt with sweet love dew appears.

歌女是实，神女是幻。我们应增强两者的相似性，使读者产生似真似幻的感觉。译者将“昨日乱山昏，来时衣上云”译为“You're the goddess with showers from the hills last night coming here，Look，now still wet your pink silk skirt with sweet love dew appears.”译文的意思是，你是仙女，昨夜你带着雨水从乱山中飞来，瞧，你粉红的丝裙上被爱情的露水湿了一大块。爱情之露增强了神的相似度。源语读者会不由自主地自言自语：是歌女呀，是神女呀？他们眼前出现了似真似幻的感觉，一种朦胧美。朦胧美是最美的。

四、歌伎舞女文化

（一）增词展示妙龄歌妓初次向才子示爱的矛盾心情

例8：张先《更漏之》

锦筵红，罗幕翠。伺宴美人姝丽。十五六，解怜才。劝人深酒杯。

黛眉长，檀口小。耳畔向人轻道。柳阴曲，是儿家。门前红杏花。

译文：

The red silk cloth covers the table of the feast，

And the curtain is green.

The maiden singer is so beautiful.

She is fifteen or sixteen only，

She know to love a talented scholar

Urging me to empty cups of wine one after another.

Long are her willow-leave-like dark green brows，

And small is her red mouth.

She whispers to me in a voice shy and low：

"In the deep shade of a willow，

Before my house in pale blue

The red apricots are in bloom."

我们应增词，显示少女矛盾心情。译者将“耳畔向人轻道”译为“She whispers to me in a voice shy and low”（她羞答答地悄悄对我说），增译shy（含羞）。她是十五六岁的歌女，一个妙龄的姑娘。她为这个词人的才华所倾倒，她要向他表示对他的爱慕，马上说，不好意思呀。不断给他斟酒和劝酒吧。但终得说。不说就失去机会了，要后悔一辈子。轻声对他说吧，好难为情。就这样，他带着含羞轻声地请他到她家约会，脸上泛起红晕。勇气中带着羞怯，反映了一种略带矛盾的心态。展示了她的心灵美。含羞产生的红晕又增添了她的外表美。译语读者得到了与原语读者相同的审美享受。

（二）还原借代中的本体

借体为文字中的直述之物，本体为借体的对象，藏于借体之后的内容。借体之所以能代替本体，是因为其或为本体的一个特征或标志，或为本体之所属。借体在古诗词曲中显得很含蓄，很深奥。当然，它为古诗词曲平添了几分美色。但译语读者常在曲折的路上迷路，我们不得不译出本体。

例9：辛弃疾《水龙吟》下阙

休说鲈鱼堪脍，尽西风、季鹰归未？求田问舍，怕应羞见，刘郎才气。可惜流年，忧愁风雨，树犹如此！倩何人唤取，红巾翠袖，揾英雄泪！

译文：

Now colder and colder the north west wind blows，

In my hometown cooked perches are well-known，

I won't return home in mounts and fields without care，

Nor will I buy any house and piece of land over there，

For I'd be ashamed if I can't become a hero to recover the lost lands.

Just like water precious time flows away and will never come back.

The lands of our country beautiful and vast

Are in the wind and rain so cruel and hard.

Whom can I ask with unbearable grief

To call a beauty in a singing hall green，

With pink kerchiefs and green sleeves here，

To sweep away tenderly a hero's warm tears？

译语读者，联想不到歌伎舞女。我们只能译出本体。译者将“倩何人唤取，红巾翠袖，揾英雄泪”译为“Whom can I ask with unbearable grief/To call a beauty in a singing hall green，/With pink kerchiefs and green sleeves，To sweep away tenderly a hero's warm tears？”譯文的意思是，我悲痛难忍，谁替我请一位绿色妓院里的歌女来擦一位英雄的热泪呢？译者将本体和借体都译出，既译歌女，又译红巾翠袖，美上加美。译语读者看到了美丽的歌女，感受到了词人忧愁。

五、酒文化

（一）使对比双方差异明显

何为对比，两种事物比较高低，异同。为了使强者突出，鲜明，我们不妨添美增色。

例10：苏轼《江城子》

墨云拖雨过西楼，水东流，晚烟收，柳外残阳，回照动帘钩。今夜巫山真个好，花未落，酒新篘。

美人微笑转星眸，月花羞。捧金瓯。歌扇萦风，吹散一春愁。试问江南诸伴侣，谁似我，醉扬州。

译文：

Tune：A Riverside Town

The dark clouds pull the rain past the west chamber.

The clear and green water murmurs cheerful eastward，

The thin mist disappears in the eve.

The setting sun beyond willow trees

Sheds light on the silver hook on the scented curtains shining.

Tonight my beauty like a fairy maiden looks so intoxicating，

The flowers are in full bloom，

The newly made wine is good

While smiling， she turns her right and left enchanting eyes，

Before her feel ashamed the beautiful flowers and moon bright.

She raises the cup filled with wine to me with cheer again and again，

Singing，she waves her scented fan blowing my spring sorrow away.

My friends in the southern land，

From my deep heart now I ask：

"Who is as happy as I getting drunk in

Beautiful and flourishing Yangzhou city？"

我們可对扬州进行修释，美化，让他更觉优越，更觉快乐。译者将“试问江南诸伴侣，谁似我，醉杨州”译为“My friends in the southern land，From my deep heart now I ask：‘Who is as happy as I getting drunk in Beautiful and flourishing Yangzhou city？’”译文的意思是，江南的知音们，我醉在美丽，繁华的扬州，你们谁能与我相比。译者将“扬州”译为美丽，繁华的扬州。译者为扬州添美，这是还原其美。扬州曾是全国最美丽，最繁华的城市，特别在隋朝，唐朝和宋朝。他应该感到优势，感到愉快。不添美，译语读者可能认为扬州是一个小城。

（二）夸张

出于表达的需要，故意言过其实，对客观事物作夸大或缩小的描述。以引起读者的共鸣，获得美的感受[3]217。

例11：欧阳修《采桑子》

清明上巳西湖好，满目繁华。争道谁家？绿柳朱轮走钿车。

游人日暮相将去，醒醉喧哗。路转堤斜。直到城头总是花。

译文：

Tune：Gathering Mulberry Leaves

The West Lake is pretty near Clear and Bright，

The scenery is so flourishing before my eyes.

Oh， the traveler trying to get there earlier fight even，

Under willows run decorated carriages with red wheels.

At dusk tourists group by group return excited，

Those who get drunk talk and laugh like crazy.

The dyke winds its way to the city wall

Filled with the flowers in full bloom all.

极目远望，前方的道路曲曲弯弯，前方的湖堤也弯弯斜斜。堤旁全是花。对醉者可进行夸张。译者将“醒醉喧哗”译为“At dusk tourists group by group return excited，those who get drunk talk and laugh like mad.”译文的意思是，傍晚，游客成群结队回家。喝醉者高声叫喊，像疯了一样。进行夸张，引起读者，特别是译语读者强烈兴趣，他们一定要到西湖去看一看。

（三）缩小夸张

翻译有时候要将夸张进行一定程度的缩减，以吸引读者的兴趣。

例12：欧阳修《朝中措》

平山阑槛倚晴空，山色有无中。手种堂前垂柳，别来几度春风。

文章太守，挥毫万字，一饮千钟。行乐直须年少，尊前看取衰翁。

译文：

Tune：Way in the Royal Court

On the blue sky the Pingshan Hall seems to lean，

The distant hills were now seen and now unseen.

With my own hands I planted the willow trees，

Since I left，they have bathed in spring breeze for years already.

I feel quite happy you become a prefect of wonderful poetry，

In a very short time，you can write a hundred lines，

Without stop you can empty a hundred cups of wine.

To make merry you must be young，

See how I enjoy myself at feasts just.

詞人写当年登临所见。译者将“一饮千钟”译为一饮百杯，缩小的夸张，游移于可能与不可能之间。译语读者很受鼓舞，乐于一试。

（四）改变感觉

人的味觉通常由心情的变化而改变，所以在翻译时，应根据需要进行改变，译出不同的“味觉”。

例13：柳永《雨霖铃》

寒蝉凄切。对长亭晚，骤雨初歇。都门帐饮无绪，留恋处、兰舟催发。执手相看泪眼，竟无语凝噎。念去去、千里烟波，暮霭沉沉楚天阔。

多情自古伤离别，更那堪冷落清秋节！今宵酒醒何处？杨柳岸、晓风残月。此去经年，应是良辰好景虚设。便纵有千种风情，更与何人说？

译文：

Tune：Bell Ringing in the Rain

At dusk in the cool autumn the cicadas in the trees sadly cry.

We stand close facing the Farewell Pavilion on the riverside，

Just after shedding tears，a heavy shower.

At the farewell table I feel wine so sour，

Today here we can hardly endure to long part，

The boatman urges me again and again to start.

Holding our hands，we look at each other's teardrops，

Words frozen in our tender hearts，we break into sobs.

With grief I'm leaving her farther and farther away，

The eve haze knits brows over a thousand Li's waves，

The gloom drowns the south shore of the Yangtze River.

Since old days to leave lover has always been heartbroken，

How can I in the clear cold fall stand the sadness？

Where shall I sober up tonight from drunkenness？

On the bank sway the sparse weeping willows

When the moon sets and the morn breeze blows.

I'll be away for years day and night missing my dear.

In the south of the Yangtze on my long journey drear，

I will not bear giving even

A glance at the pretty scenes.

Even a thousand thoughts and feelings in my mind I get，

To whom can I with a sweet tender heart convey them？

在翻译“都门帐饮无绪”时，应该知道词人此时的心情低沉，所饮之酒自然也就寡然无味。译者将“都门帐饮无绪”译为“At the farewell table I feel wine so sour”（我的酒为何这般酸楚），清晰地展现出词人内心的痛苦。

六、结语

文章展示了宋词中的江南文化一角，以许渊冲先生的意美、声美和形美为指导方针展现出的宋词中美丽的中华文化，定会让无数的译语读者陶醉其中，并前往中国，亲自去江南体验一番。让我们，于宋词中，与译语读者相逢、相知，结千年的深情。

[参考文献]

[1]许渊冲.汉英对照宋词三百首[M].长沙：湖南出本社，1996（5）：33.

[2]顾正阳.古诗词曲英译论稿[M].上海：百家出版社，2003：236.

[3]顾正阳.古诗词曲英译理论探索[M].上海：上海交通大学出版社，2004：217.

[4]王鸿雁.游刃有余行云流水——翻译之“换译”技巧应用刍议[J].牡丹江师范学院学报：社会科学版，2021（04）：62-70.

[5]娄琦，韩竹林，位春华.翻译中文化“他者”的解构[J].牡丹江师范学院学报（社会科学版），2020（03）：75-83.

[责任编辑]甄 欣

Translation Strategy of Culture of South of the Yangtze River in Song Ci Poems in English

SHANG Xiaojin，GU Yiyan

（School of Foreign Languages，Shanghai University，Shanghai，200444，China）

Abstract：The south of the Yangtze is very beautiful and flourishing，heaven in the world.It boasts of many intoxicating myths，legends and stories.The author basically applies Mr.Xu Yuanchong's Three Beauties Theory to demonstrate the translation strategy of Jiangnan culture in Song Ci from five different aspects：flowers and trees，water，mountains，songstresses and dancers，wine.

Keywords：Song Ci;culture;translation