6.3.2　A case study

The case chosen is a fairly conventional one and also taken from Xu's translation of“The Beautiful Lady Yu”which belongs to the inclusive corresponding type presented in Section 5.3.In fact the applicability of image-G reinforcement strategy can also be certified with the inclusive corresponding type which from a Gestalt unity point of view does represent a part-whole relations of image-G actualization and even would be assigned to a type-of relations illustrated in Section 5.3.Just as translators cannot delimit the type-of relations with exactitude which constitute the inclusive corresponding type of image-G actualization,they cannot ignore those fragmentary and missing Gestalt elements which constitute the original holistic image-G in TT.Image-G reinforcement approach is what is involved in inclusive corresponding type and what operates effectively and targetedly,a strategy which enables translators both to discriminate and to heighten those unincorporated Gestalt elements and thus makes holistic image-G possible in TT,for without it they would have only irrelevant association of Gestalt differentiated interpretations.

To begin with,there are mainly two prominent poetic cultural cognitive models that could be interrelated to poetic Gestalt attributes embodied in certain cognitive and cultural models in the first part of the poem.The first one is the poetic cultural cognitive model xiaolou zuoye you dongfeng consisting of two images of xiaolou(little tower)and dongfeng(east wind)which are combined to form a whole are not only pictures in words,but mixed with the poetic Gestalt attributes of extremely bleak,mournful and inconsolable.In internalizing and incorporating this poetic cultural cognitive model,translators could more or less consciously borrow from one or several cultural and cognitive models that they have stored.Only in the very rare case when they encounter a totally unfamiliar image will no appropriate cognitive model be available,but even they can presumably try to call up similar experiences and immediately form a cognitive model.As a result,the adoption of bitterly icy wind and crude tower would be suggested to provide a ideal translation of images of xiaolou(little tower)and dongfeng(east wind)since their correlated cognitive model intensifies exemplary cognitive representations that possess poetic Gestalt attributes of gloomy and forlorn.The incoming elements brought by bitterly icy wind and crude tower are exactly fit for original poetic cultural cognitive model of dongfeng(east wind)and xiaolou(little tower)respectively,while that of Gestalt reinforcement falls on the fact that new elements brought by them internalize culturally-formed archetypes of cognitive models of the original images.(https://www.daowen.com)

The second poetic cultural cognitive model is guguo bukan huishou yueming zhong,in which of guguo,bukan huishou and yueming zhong is self-evident that within specific cultural models they ought to be highlighted.The reason why these three Chinese cultural-specific phrases have been selected as superordinate concepts seems to be that their underlying cognitive models are underpinned by Gestalt attributes of deep feeling of grief and remorse.The important thing is that all these underlying cognitive models can be derived from one and the same artistic relations between cultural models and Gestalt contour which imply the poet's heavy sorrow and grief for his lost land.Anyhow,the cultural models and Gestalt contour of proposed translation should be utilized to access unincorporated Gestalt elements on different occasions as translators immediately conceptualize some abstract cognitive model of certain selected superordinate concepts.They may also simply emerge as the product of translators'conceptualizing processes,rather than serve as the underlying cause of these processes.In this view,the adoption of“how can I bear to look back toward my lost country in the moonlight”would be proposed to be best possible rendering of guguo bukan huishou yueming zhong,owing to the fact that the internalized one itself in TT can intensify and reinforce Gestalt and aesthetic attributes of the poet's grieving recall of his blessed old times and his lovesickness of his lost land which are not prominently embedded in ST.