| Acknowledgements | 第1-7页 |
| Abstract | 第7-12页 |
| English Version | 第7-8页 |
| Chinese Version | 第8-12页 |
| Chapter I Introduction | 第12-16页 |
| ·Research Context | 第12-13页 |
| ·Aims of this Thesis | 第13-14页 |
| ·Organization of this Thesis | 第14-16页 |
| Chapter II Reception Aesthetics and Translation | 第16-24页 |
| ·The Rise of Reception Aesthetic | 第16-17页 |
| ·The Definition and General Ideas of Reception Aesthetics | 第17-21页 |
| ·Emphasis on Text-reader Relationship | 第17-18页 |
| ·Terms of Reception Aesthetics | 第18-21页 |
| ·Heidegger and his "Pre-understanding" | 第18-19页 |
| ·Gadamer and his "Fusion of Horizon" | 第19-20页 |
| ·Jauss' "Horizon of Expectations" | 第20-21页 |
| ·Reception Aesthetics: Application to Translation | 第21-24页 |
| ·Horizon of Expectations' Relevance to Translation | 第21-22页 |
| ·Translator's Considerations for Readers' Horizons | 第22-24页 |
| Chapter III Rhythm of Blank Verse in King Lear | 第24-33页 |
| ·Rhythm in English Poetry | 第24-26页 |
| ·Foot | 第24-25页 |
| ·Meter | 第25-26页 |
| ·Traits of Rhythm in Blank Verse | 第26-27页 |
| ·Feature Analyses of Blank Verse in King Lear | 第27-30页 |
| ·Metrics of Shakespearean Blank Verse | 第27-28页 |
| ·Wording of Shakespearean Blank Verse | 第28-29页 |
| ·The Frequency of Blank Verse in King Lear | 第29-30页 |
| ·The Reasons Exploration | 第30-33页 |
| ·Social Background in the Elizabethan Era | 第30-31页 |
| ·The Audience's Taste Concern | 第31页 |
| ·Shakespeare Himself as the Third Reason | 第31-33页 |
| Chapter IV Evaluation on the Translated Versions of Blank Verse in King Lear | 第33-48页 |
| ·Classical or Vernacular? | 第33-35页 |
| ·Different Ideas of Classical and Vernacular Schools | 第33-34页 |
| ·The Evaluations on Both Schools | 第34-35页 |
| ·Prosaic or Poetic | 第35-40页 |
| ·Ideas of Prosaic and Poetic Schools | 第35-36页 |
| ·The Evaluations on Both Schools | 第36-40页 |
| ·The Method of "Meter Replacement" | 第40-48页 |
| ·General Ways of "Meter Replacement" | 第40-41页 |
| ·The Essence of "Meter Replacement": the Imitation of Rhythm | 第41-42页 |
| ·The Unfeasibility of Meter Replacement: Some Innate Flaws within Rhythm Imitation | 第42-48页 |
| Chapter V Rhythm Transplantation of Blank Verse in King Lear | 第48-67页 |
| ·Qiyan Form— the Rhythm Transplantation of Blank Verse | 第49-54页 |
| ·Yan (Character): the Basic Unit of Chinese Language | 第49-51页 |
| ·Form of Characters: The Visualization of Rhythm | 第51-52页 |
| ·The Choice of Character Numbers in Each Line | 第52-54页 |
| ·Yuanju Style— the Feasibility of Rhythm Translation | 第54-62页 |
| ·Some Techniques from Yuanju: The Realization of Qiyan Form | 第55-59页 |
| ·Adding Chenzi | 第55-57页 |
| ·Reducing Empty Character | 第57-58页 |
| ·The Flexibility of Grammatical Order | 第58-59页 |
| ·Accordance between Yuanju Style and the Style of Shakespeare's Plays | 第59-62页 |
| ·The Accordance in Historic Background | 第59-60页 |
| ·The Accordance in Spirit | 第60-61页 |
| ·The Stylistic Accordance | 第61-62页 |
| ·Proper Rhyming— The Compensation of Rhythm | 第62-67页 |
| ·End Rhyme: Composition for Chinese Musicality | 第63页 |
| ·Importance of End Rhyme in Chinese Poetry | 第63-64页 |
| ·Feasibility of End Rhyme Composition | 第64页 |
| ·Discussion on the "Properness" of "Proper Rhyming" | 第64-67页 |
| Chapter VI Translation Practice: Translation of an Excerpt from King Lear | 第67-76页 |
| ·Process of Understanding the Original Excerpt | 第69-71页 |
| ·Process of Translation | 第71-76页 |
| ·Compensation as Adding Poetic Sense | 第71-72页 |
| ·The Choice of Ten-Character Line | 第72-76页 |
| Chapter VII Conclusion | 第76-79页 |
| ·Major Achievements | 第76-77页 |
| ·Restraints of this Thesis | 第77页 |
| ·Suggestion for Further Studies | 第77-79页 |
| Bibliography | 第79-82页 |
