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双语推荐：李渔

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李渔《闲情偶寄》之“饮馔部”，真实地展现了李渔独到的饮食文化观，也可称作清代难得的饮食理论与实践之作。从李渔的饮食文化观、饮食哲学观以及海鲜饮食观等方面看出，李渔的饮食之道，是基于他所崇尚的“自然、本色、天成”之思想。
In the catering section of Occasional Leisurely Life, Li Yu realistically demonstrated his unique cater-ing culture concept, which makes it known as an uncommonly great works on catering theory and practice during the Qing dynasty. Li Yu''s catering recipe emerging out of his catering culture concept, catering philosophy and seafood concept is based on his thought of advocating nature and inherent qualities.

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李渔养生思想的形成，得益于其医学世家的家庭背景，传统文化的熏染和对生活经验的积累与体悟。李渔提出，“心和则百体皆和”，认为养生需遵循事物变化发展的规律，依据四时变化分别处之，顺时而为，顺势而为，顺心而为，顺性而为。李渔的养生思想，提供普通百姓以养生之理、生活哲学。
Li Yu''s law of regimens can be attributed to his medical family background, the influence of traditional culture and his accumulation of life experience and understanding. He puts forward the idea that inner peace promotes the well-being of the whole body, and thinks that regimen should be changed seasonally and developed with some regularity under the proper time, contemporary situation, cheerful mind and gentle disposition. Li Yu''s law of regimens, of course, provides the ordinaries the science of health and philosophy of life.

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李渔一直是难以获得定评的古代文化名人，而且持论各方常常观点完全相左。钟明奇先生在《重评李渔“帮闲”说》一文中，重申了鲁迅先生的著名论断。但从钟先生所列举的论据来看，仍然存在明显漏洞，结论值得商榷。理解李渔这样的文化存在，必须秉承“了解之同情”的原则。回到明清易代时的生存时空背景，李渔非但不是无耻可鄙之人，相反他是一位为谋求独立生活、自由思考而执着坚持的勇士，是晚明个人主义思潮真正的代表。
Li Yu,ancient culture celebrity,has been difficult to obtain definite assessment.and there were completely opposite views on him.Zhong Mingqi,in his work “New Comment on Li Yu as Pen-ster”,reiterated the famous judgment of Lu Xun.But from the arguments cited by Mr.Zhong,there are still obvious flaws and the conclusion is debatable.To understand Li Yu,it is necessary to adhere to the principle of “sympathy based on understanding.”In the transition between Ming and Qing Dy-nasties,Li Yu was anything but a shameless despicable person.On the contrary,he was a persistent warrior in pursuit of independent life and free thinking,and served as a genuine model of the individu-alism at the end of Ming Dynasty.

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汤显祖与李渔作为闻名世界的文学家与戏曲家，在文学作品中表现出了同中有异的爱情观，通过比较《牡丹亭》的因梦生情与《十二楼》中《合影楼》的因影生情得出，对封建礼教的大胆反叛、对情的无限崇尚是李渔对汤显祖爱情观的继承，而李渔的更具个性解放意识则是对汤显祖爱情观的突破。
Tang Xianzu and Li Yu as a world famous writer and flaming, in literary works show the same in different about the view of love. By comparing Mudanting of the dream, love, and Shierlou in the photo floor for shadow living feeling, The bold rebel and the feeling of infinite the feudal moral advocating of Liyu Tang Xianzu love inheritance, the consciousness of Li Yu more personality liberation is breakthrough of Tang Xianzu love.

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在梳理李渔作品在国内外英译及传播概况的基础上,采用王宏提出的开展翻译的内部研究和外部研究,从作品素材因素、译者选材因素、读者认知因素、社会伦理因素四个方面,分析李渔作品在国外备受译者译介而在国内英译仍为数较少的原因,最后呼吁国内更多学者、译者加入到研究、译介李渔作品的队伍中来,扩大我国典籍英译的研究范围。
Based on the study of Li Yu’s translated works from Chinese to English and their circultion at home and abroad, this paper explores the reasons why Li Yu ’s works have been much more translated abroad while much less in China from four aspects under the perspective of inner and external research strategy which was put forward by Wang Hong:the original text,the translator,social ethics and the readers.It calls upon Chinese scholars to do more translation in this field.

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李渔是明末清初重要的戏曲理论家和创作家,他以文人兼商人的身份,把戏曲的娱乐性与教化作用相结合,其戏曲理论从结构、词采、音律等方面进行论述,突出了戏曲的商业性质。李渔的戏曲理论在总结前人经验的基础上结合了自己的创作和实践经验,具有独创性,在深度和完整性方面都超越了前人。
Li Yu was an important drama theorist and writer in the late Ming and early Qing Dynasties.As a scholar as well as a merchant,he entertained and at the same time enlightened the readers by discussing the structure,lexicon,rhythm and many other aspects of drama in his drama theory,which highlights its commercial features.Learning from the experience of his predecessors and combining it with his own writ-ing experience,his drama theory has it unique features,and its depth and completeness are beyond the reach of his forerunners.

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《怜香伴》是清代李渔的《笠翁十种曲》中的一种,历来认为它表现的是古代闺阁女子的同性恋或准同性恋情。但是,细读文本,并结合作者李渔的创作意图和戏剧理论,可以看出《怜香伴》只是对小说戏曲中常见的一男二女婚恋模式进行翻新,用尖新奇巧的方式表现二位女子的友情,并非同性恋故事。
Pitying My Sweet Companion is one of the Ten Songs of Fisherman written by Li Yu in the Qing Dynasty .It has always been believed to describe the Lesbians or Quasi-Lesbians of the ancient boudoir women .However ,reading the text ,and combining with Li Yu’s creation intention and drama theory ,we can know that Pitying My Sweet Companion was just a story of “a man and two women” ,which was a common love pattern in novel and opera ,and described two women’s friendship through a novel way ,but not a story of lesbian .

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戏曲是中华民族独特的艺术。由于封建统治阶级视戏曲为"小道"、"末技",常常依仗国家意志和法律手段对戏曲动辄排斥或者禁毁,使得戏曲难以登阶入室,跻身文学艺术大家庭的殿堂。自宋代以来,有识之士不遗余力地为戏曲呐喊、正名,戏曲身份认同的现实本源施展与冲突绵延不绝。其中,明末清初的李渔是戏曲身份认同的现实本源施展与冲突中的典型事例。李渔克服"穷骨"、"恶岁"、"砚田糊口"的生存困境,敢于直面戏曲身份认同的现实本源施展与冲突,为戏曲身份认同矢志不渝地贡献了毕生精力。古代戏曲身份认同为近世王国维为戏曲正名奠定了深厚的学理基础,创造了充分的条件。
Chinese opera is an art with Chinese national flavors. Seen as "tiny arts" and "trivial technique"by feudal dominating classes and frequently suppressed or forbidden by them through state will and legal means, Chinese opera was excluded from the hall of literary arts. Since Song dynasty, many scholars with far sights struggled for the status of opera, with which is endless realistic fundamental expansion and conflicts of opera identity. The identity of Li Yu at the turn of Ming and Qing dynasties is a typical case. Overcoming hard life of"poor bone","famine years"and"literature as a trade", Li Yu faced squarely the expansions and conflicts and devoted the rest of his life to the identity of opera. Such identity laid solid theoretical foundations and provided sufficient conditions for Wang Guowei''s establishment of opera as a discipline.

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《柳毅传》是唐传奇的代表作,享誉后世,具有很高的艺术价值,后世也不乏改编之作,清初戏剧名家李渔将其改编为《蜃中楼》。从两篇作品中的儒生形象入手,比较二者在形象塑造上的异同,从而探寻清代文学对唐代文学的传承规律。
Biography of LiuYi is a representative work of Tang Chuanqi , which is of the very high artistic value and is adapted for drama.At the beginning of the Qing Dynasty , Li Yu turned the story into a play Shenzhonglou .From the two Confucian images created in those two novels ,the paper compared the different images and explore how the literary works of the Qing Dynasty heritage the traditions of the Tang dynasty in literatures .

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作者认为《园林述要》是一部可以传世之作,堪称《园冶》"现代版续编"。它传承、发扬和发展了以《园冶》和计成、李渔等为代表的中国古典园林学理论和实践的精华。《岭南庭园》展示和剖析了作为私家园林范例的岭南庭园设计手法上的固有特征,有着长久的借鉴价值。
The writer believes that Brief introductionoftheChinesegardens is a master piece which could be considered as the modern sequel ofYuanYe. The book has Inherited, carried forward and developed the essence of theory and practice of traditional Chinese garden, which led by Ji Cheng and Li Yue etc. The other book written by Professor Xia, LingnanGardens reveals the characteristics of design approaches for Lingnan Gradens, which are classic examples for private gardens that still very inspirational for modern design.

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