| 摘要 | 第5-7页 |
| ABSTRACT | 第7-8页 |
| Chapter 1 Introduction | 第11-14页 |
| 1.1 Research Background | 第11-12页 |
| 1.2 The Faithfulness, Coherence and Elegance Theory | 第12页 |
| 1.3 Organization of the Thesis | 第12页 |
| 1.4 The Significance of the Research | 第12-14页 |
| Chapter 2 Literature Review | 第14-24页 |
| 2.1 Xu Yuanzhong’s Translation Theory and His Practice on Chinese Classical Poetry Translation | 第14-20页 |
| 2.1.1 Xu Yuanzhong’s Translation Theory | 第14-18页 |
| 2.1.2 Xu Yuanzhong’s Practice on Chinese Classical Poetry Translation | 第18-20页 |
| 2.2 Ezra Pound’s Translation Theory and His Practice on Chinese Classical Poetry Translation | 第20-24页 |
| 2.2.1 Ezra Pound’s Translation Theory | 第20-21页 |
| 2.2.2 Ezra Pound’s Practice on Chinese Classical Poetry Translation | 第21-24页 |
| Chapter 3 “Three Aesthetic Principles” and “Triple Concept” in Translating Chinese Classical Poetry | 第24-30页 |
| 3.1 Three Aesthetic Principles | 第24-27页 |
| 3.1.1 The Principle of Aesthetic in Sense | 第24-25页 |
| 3.1.2 The Principle of Aesthetic in Sound | 第25-26页 |
| 3.1.3 The Principle of Aesthetic in Form | 第26-27页 |
| 3.2 Triple Concept | 第27-30页 |
| Chapter 4 A Comparative Case Study on Pound and Xu Yuanzhong’s translation | 第30-44页 |
| 4.1 Case Study | 第30-42页 |
| 4.1.1 The River-Merchant’s Wife: A Letter | 第30-39页 |
| 4.1.2 The Fair Lady Li | 第39-40页 |
| 4.1.3 Farewell to a Friend | 第40-42页 |
| 4.2 Summary | 第42-44页 |
| Chapter 5 Conclusion | 第44-47页 |
| 5.1 Major Findings | 第44-45页 |
| 5.2 Limitations of The Study | 第45-47页 |
| Bibliography | 第47-49页 |
| Appendix A | 第49-50页 |
| Acknowledgements | 第50页 |
