6.6.2　A case study

The case is taken from Xu's translation of“The Beautiful Lady Yu”which belongs to the inclusive correspondence type presented in Section 5.3.As the illustration in Section 5.3 suggests,the Gestalt layers in the original poem which give rise to the Gestalt effects between scene-framed imagery seem to coincide with the way the image-G modulation strategy is cognitive motivated.And indeed,the pertinency of image-G modulation strategy can be vindicated by the case study of inclusive correspondence type since it offers a convincing explanation for the cognitive motivation of image-G modulation approach and can be deemed as a fairly representative example of the composite deployment of different scenario/scene modes.Image-G modulation strategy is essentially an approach to the conceptual organization of Gestalt attributes among different scenario/scene modes.Other than the consequences of different Gestalt schemas in operation,it should then be possible to sketch image-G of superordinate hierarchy in literary discourse without any problems.(https://www.daowen.com)

In the poem,image-G of superordinate hierarchy is mainly composed of several image-G of hyponym hierarchy embodied in four scenario/scene modes(four lines).Image-G of hyponym hierarchy in which they are embodied are not separate aspects of image-G of superordinate hierarchy,but clearly related to prominent images of Gestalt cohesion,at least perceptually.To be specific,chunhua qiuyue“autumn moon and spring flowers”is the prominent imagery in the first scenario/scene mode(the first line),which serves as a foil to the Gestalt attributes of sorrowfulness and downheartedness.As the prominent imagery in the second scenario/scene mode(the second line),xiaolou(my garden)and yueming(moonlight)release the Gestalt attributes of melancholy and mournful,which does not merely inherit but develop the Gestalt homogeneous units of the first scenario/scene mode.The third one,diaolan yuqie(carved balustrades and marble steps)and zhuyan(rosy faces)are projected selectively to form a close Gestalt contour,namely,the poet's deep feeling of grief and bitterly remorseful,which supply profound conceptual substance to its image-G of superordinate hierarchy.The last one,yijiang chunshui(overbrimming river)is used for the suitable and vivid vehicle of the poet's gloomy mood,which not only shows the long-drawn-out and far-reaching Gestalt attributes of disconsolateness,but also demonstrates its emotional swings.In a sense,it fully reflects the strength and profundity of the Gestalt attributes of disconsolateness.For translators,the obvious intention is to probe image-G of superordinate hierarchy in which the Gestalt experiential prototypical interaction of these scenario/scene modes is projected onto the relations of image-G of hyponym hierarchy.In that case,as has been claimed,the composite deployment of a larger prototypical and conceptual framework of a given four scenario/scene modes brings about a single conceptual entity of Gestalt attributes.In that case,translators can be cognizant of image-G of superordinate hierarchy,namely,the poet's heavy-hearted lamentation over the transience of life and his miserable life experience.All in all,there seems to be a bundle of Gestalt attributes in scenario/scene modes that represent modulation aspects of the adaption of image-G in the poem and these attributes tend to correlate in nature.