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A Comparative Study on the Translation of Snowflakes From the Perspective of the “Three Beauties Theory”

 Henry W. Longfellow, one of the most popular poets in the USA in the 19th century, wrote many poems in his life, such as Voices of the Night , Poems on Slavery and Birds of Passages , etc. Snowflakes is the poem which expresses the Longfellow’s melancholy and depression, as well as his deep mourning for his wife. From the perspective of Xu Yuanchong’s “Three Beauties Theory”, this paper analyzes the three translated versions of Snowflakes and discusses the embody and shortcomings of the “Three Beauties Theory” in the process of poetry translation.

Even as the troubled heart doth make In the white countenanceconfession, The troubled sky reveals The grief it feels. This is the poem of the air, Slowly in silent syllables recorded; This is the secret of despair, Long in its cloudy bosom hoarded, Now whispered and revealed To wood and field.
The whole poem, short and exquisite, can be divided into three stanzas. The first stanza describes the falling of snowflakes, the second stanza describes the transition from snowflakes to the vast sky, and the third stanza expresses Longfellow's sad feelings. From the whole poem, we can see that the embrace of the sky, the folds of clouds, the brown and bare forest, the lonely space of the field... all constitute a peaceful and quiet picture, with a trace of sadness.
The rhyme of this poem is very beautiful. "Out" appears in the first two sentences of the first stanza; "over" appears in the third and fourth of the first stanza; "even" appears in the first and third sentences of the second stanza; "the" appears in the fifth and sixth of the second stanza; "this" appears in the first and third sentences of the third stanza; especially, "silent, and soft, and slow", "countenance confession", and "Slowly in silent syllables", which are apparently alliterations, are very beautiful. Therefore, we will see the beauty of repetition when we read this poem. By observing the whole poem, we can see that its rhyme format is "ababcc, ababcc, ababcc", and the end of the first stanza is "air, shaken, bare, forsaken, slow and snow", from which we can see that "air" and "bare" are /eə/ rhymed, "shaken" and "forsaken" are /eiken/ rhymed, "slow" and "snow" are /əu/ rhymed. It can be seen that Longfellow has a knack for employing rhyme, which is harmonious and pleasant.

A Comparative Study on the Translated Versions of Snowflakes
There are many translated versions of Snowflakes on the internet. We select three of them and make a comparative analysis from the perspective of the "Three Beauties Theory". The first is Mu Dan's translated version, the second is Yang Deyu's translated version, and the third is Wang Jinhua's translated version, hereinafter referred to as Mu's translated version (Mu Dan's translation version), Yang's translated version, and Wang's translated version. Each translated version has its own advantages and disadvantages, which will be analyzed below. The

从大气中间，从云彩霓裳的折缝里，飘舞的雪花悄然 缓缓地降落下来，落到已凋零呈褐色的林地，落到已上冻的农田里。
From the perspective of "beauty in sound", the tone of the first and the second translated versions are extremely beautiful, which rhyme like the original poem and make it easy to read. In the Mu's translated version, the rhyme /ang/ ("膛" [táng], "上" [shàng]) in the first and third sentence, as well as the rhyme /uo/ ("落" From the perspective of "beauty in sense", the three translated versions accurately depict the snowflakes falling quietly, gracefully, and gently. However, Yang's translated version is the best. This version gives people a sense of loneliness and sadness, which lays the emotional tone of sadness in the whole poem. The word "漠漠" in "漠漠长空胸怀里逸出" reflects the boundless sky, and the snowflakes are independent and falling. Everywhere they went, there were also vast forests and fields, like duckweed, which were constantly wandering and miserable.
Based on "beauty in form", the three translated versions and the original poem are all six lines, which is in line with the characteristics of simplicity and clarity of poetry.
The Based on "beauty in sense", the second paragraph of the poem describes the transition from snowflakes falling to the long sky, and the melancholy sky is also telling the pain. We think that the third sentence of Mu's translated version is not appropriate; "even as the troubled heart does make" is translated into "有如我们苍白 的容颜， 显示了纷乱内心的衷情", in which the original metaphor is changed. In Yang's translated version, the translator personifies the sky and talks about the sufferings in his heart, which is also the true reflection of Longfellow's missing his wife. We think that the second sentence of Wang's translated version exists a little translationese.
Based on "beauty in form", the first translated version is the most beautiful in style, with concise but not simple, and the second and third translation are inferior. Based on "beauty in sense", Mu Dan translates "the air" into "天空", and Yang Deyu translates it into "天 穹". We think that "天穹" is much better, which vividly shows the vastness of the sky, heaven as well as the earth, and the loneliness of snowflakes floating between the heaven and the earth. In Wang's translated version, it is translated as "大气", which is a little improper. In addition, Wang's translated version sounds translationese, which needs to be improved, such as "被无声的音节给予记载". Based on "beauty in form", Mu's translated version is concise and beautiful, which is commensurate with the form of the original poem. Yang's and Wang's also basically meet the translation rule of "beauty in form".

Conclusion
Based on the translation principle of the "Three Beauties Theory", we can see that each version has its own merits. The three versions all pay attention to the accuracy of the meanings of the original words and sentences, and present different versions with diverse advantages by various translation methods. Under the guidance of Xu Yuanchong's "Three Beauties Theory", it is extremely difficult to perfectly translate in terms of sound, form, and sense. However, appreciating the translated works from Xu Yuanchong's theory will bring some inspiration to translators and translation researchers.