By selecting some of their relevant shared features, the two realities will mirror each other in certain essential aspects and produce an aesthetic experience among English readers theoretically akin to the experience among their Chinese counterparts. The construction of a “mirror-shared reality” is a type of creative practice based on both realities, not just one of them. This notion refers to an intermediate construction made by the translators with the aim of bridging different “realities” of classical Chinese poetry and English poetry with regard to knowledge, tradition, and reference.
The Chinese system is also a base-10 system, but has important differences in the way the numbers are represented.
We shall suggest that “mirror-shared reality” may play a critical role in this practice. While China has for many uses adopted the Arabic numeral system familiar around the world, it also still uses its native Chinese character number system. This article intends to explore translation as a creative, cross-cultural practice. Hence, English translation of classical Chinese poetry based on equivalence is not an option. Classical Chinese poetry and English poetry show huge differences, mainly with regard to literary imagery, sense, rhythm, sound, genre, and format. View metadata, citation and similar papers at core.ac.
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