《九歌》体句式的最大特点是句句皆有“兮”字,且位于诗句的句腰,其用法独特,意义特殊;英译《九歌》时,如何处理“兮”字,译家们的翻译手法多有不同.纵观阿瑟?韦利的《九歌》英译,其对“兮”字的译法可谓是既得其意,又不忘其形,实属难得.详解《九歌》“兮”字,可定其形,明其意,再以我国楚辞英译的知名译家与阿瑟?韦利在《九歌》“兮”字译法上进行比较和评析,可以看出阿瑟?韦利的“兮”字译法更契合《九歌》“兮”字在原诗上的形和意,这表明阿瑟?韦利在古汉语诗歌英译方面自有其独到和过人之处.

The outstanding features of the Nine Odes written by Quyuan , is that in the right middle of each verse line there is a Chinese character “Xi” , whose usage and meaning are unique .In English translation version of the Nine Odes , transla-tors respectively adopt various methods to deal with the character “Xi”.Arthur Waley’s translation of the character “Xi” gain not only its meaning but also remain its form of the character .By analyzing the character “Xi” and comparing the translation with that Chinese famous translators , it is found that Arthur Waley’s translation may be more in accord with the original mean-ing of the character “Xi”.

《九歌》原是楚国南部流传的民间祭神乐歌，后经屈原的艺术加工与创作而流传下来。在遭受政治上的打击和迫害之后，屈原所抒的是请缨无路、报国无门的悲哀和怨愤，从而使《九歌》具有独特的悲剧意蕴。

"Nine Songs"is the folk sacrificial music song circulated in southern Chu, after the art and writings of Qu Yuan to hand down. After political attack and persecution, Qu Yuan analyzes the sorrow and resentment, so that the"Nine Songs"has the unique tragedy implication.

屈原《九歌》中的诸神祭歌以广阔的自然为背景,诗中自然环境的描写具有美的特质。王维《辋川集》中描绘的辋川山水也同样体现了对自然的审美情趣,其自然美的构成要素,在幽静之美的自然氛围、清新灵动的自然色彩、芳香圣洁的自然意象、浪漫想象的自然幻境这四个方面都明显受到《九歌》的影响。王维和屈原相似的生存环境、政治遭际、人生情怀,使他们相隔千年而心灵契合。

The songs of the gods in Qu Yuan’s Nine Songs take the vast landscape as its background and have aes-thetic descriptions. Wang Wei’s Wang Chuan Collection also reflects the aesthetic taste of nature in Wang Chuan. The natural aesthetic elements in Wang’s poem including the quiet and secluded beauty of natural atmosphere, fresh and dynamic natural colours, aromatic and holy nature images, romantic imagination and natural dreamland are ob-viously affected by the Nine Songs. Wang Wei and Qu Yuan have the similar living environment, political experi-ence and life feelings, which enabled them resonate each other though they were at a distance of a thousand years.

"打倡"是南楚地域一项非常古老的民间请神巫术,由当地法师(即巫师)设坛开祭,其仪典热烈,观者如云,神情虔诚。所请之神众多,有天神玉皇大帝、王母娘娘、九天司命,地祇湘水童神,人神刘三总管等。屈原在朝为三闾大夫,主管楚王室宗庙祭祀,娴熟此类祭典。流放南郢之邑,特别是到了汨罗后,见楚人"打倡"请神之仪典,"其词鄙陋",其舞"亵慢淫荒",便在当地法师的支持下,收集整理而成为我们今天见到的《九歌》。当地法师感恩屈原,在后来的请神中,增加了请屈原神之程序,一直流传至今。由此可见《九歌》的原始素材是巫歌而不是民歌。

"Da Chang"is an old folk witchcraft in the southern Chu, which the native wizard offers a sacrificialaltar,has grand ceremony, many people with devout heart. A lot of Gods are invited, including the emperor of Heaven and his wife, etc. Qu Yuan is appointed as San Lv official (an official position),in charge of sacrifice of royal family, so he is very familiar to this sacrifice ceremony. During the time of he was exiled to Nanying, especially to Miluo, he saw a witchcraft "Da Chang", which the words were shallow, the dance wasobscene. With the help of the native wizard, Nine Songs wasgenerated through Qu Yuan''s collection and editing. The wizard in this place felt grateful to Qu Yuan, so later, inviting God of QuYuan also was added into this witchcraft procedure,and spread so far.Thus it can be seen that the originalm aterialis not from folk songs, but witch songs.

朱熹的代表性山水诗《九曲棹歌》传入韩国之后，影响整个朝鲜朝并形成全球独一无二的九曲文化。对此诗的传入时间不晚于高丽晚期是韩国学界的共识，但支撑这一结论的三条依据中的两条，因为部分学者对史料的误读结果而无法成立，导致这种误读主要缘于浮躁的心态和韩国汉文教育的一度断层。

Zhu-xi’ s representative Landscape poetry JiuQu Zhao Song spread in Korea .It affected the whole Korea Peninsula and formed an unique “JiuQu” culture.The time when this poetry spread in Korea is earlier than the Late Koryo period .This is a consensus of all the scholars in Korea .As you know , according to three reasons we can draw a conclusion directly , but some scholars misunderstood the historical materials so that the conclusion could not be proved .This is because of the scholar ’ s impulsive psychology and interruption of Chinese education in Korea .