【正文】 is “天生一個仙人洞，無限風(fēng)光在險(xiǎn)峰” translated as “The Fairy Cave’s a wonder wrought by Nature’s land。s poetry lies in varieties of the images, shown by the translators with many efforts to fulfill the beauty of sense. The process of translation between two languages actually is the transition between two language symbols. So how to choose an appropriate method to overe the misunderstanding which occurs in the process of translation between two languages is a problem at the semantic level. Translation equivalence is a term which 12 was used to describe the closest natural equivalent in delivering the message of source language to the receiver in target language, both in meaning and in style. Therefore, the first principle of cultural images translation is semantic equivalence. However, absolute equivalence between two languages does not exist. Exactly speaking, there is no sameness in translation equivalence, and what we seek for is the similarity. The concept we use here is just an approximate one. For example“待到山花爛漫時(shí) ” , some people translated as “ when the mountain flowers are in full bloom.” Although it is correct, but it not shows the beauty of the original sentence, a better translation is: “When with blooming flowers the mountain is aflame”. This version better express the meaning of multiple flowers in the mountain. Another example is “五嶺逶迤騰細(xì)浪，烏蒙磅礴走泥丸 ” which is translated as “ The five serpentine Ridges outspread like rippling rills。 “molehills” is not so faithful as “mud pills” but it is far more beautiful in sense and in sound and better matched with “rills”. In order to reach the stage of beauty in sense, some translation method should be used to translate the image. We set Mao’s poem Spiral Mountain as an example to show the translation methods Xu applied in his version and the image beauty he conveyed. 清平樂 六盤山 一九三五年十月 天高云淡， 望斷南飛雁。 Counting up, we’re done twenty thousand li in all. Of Spiral Mountain at the crest, Red flags wave in wanton winds form the west. With the long cord in hand today, When shall we bind the Dragon Gray? The first translation method is literal translating method, the first sentence “天高云淡” translated as “The sky is high ,the clouds are light.” This sentence uses literal translating method, because image like sky and clouds are mon image both in Chinese and English language. So they can be translated directly. The second translation method is meaning translation method, in the second sentence “望斷” means eager to see, but cannot see, it is translated as “out of sight”. 14 “望” express a kind of expect feeling, but it’s hard to find an equivalence word to express this meaning. So translator use “out of sight” to convey that it’s really hard to expect. Meaning translation method often use in translate words with cultural marks. The third method is adding note to some special cultural words and allusion. In this poem the last sentence “蒼龍” is directly translated as Dragon Gray , and translator add note to explain it. Dragon Gray refers to the Japanese aggressors. In this way can protect the cultural image and help readers to understand Chinese cultural well. Methods mentioned above can better translate the meaning in the poem and show the image’s beauty. If the meaning were well translated the beauty in sense can also be shown to the reader. Methods Applied in Translating Sound As to the sound beauty, it is easy to read due to the section tones and rhymes in the target language. Generally speaking, a poem has metrical rhymes, for the reason that “syllables and rhymes” is the fragrance on the poetry with the original uniqueness that can make one’s ans active. Robert Frost once said that poetry is “what is lost in translation.”(Zhang 5) Although beauty in sense should always be given unconditional priority in translation, beauty in sound cannot be ignored, especially in poetry translation. Both Chinese and English poems h。 六盤山上高峰， 紅 旗漫卷西風(fēng)。 “rippling rills” makes us see the shape of the Ridges and hear the ripples by the use of alliteration and assonance, that is to say, beauty in sense is brought out when associated with beauty in sound or form。 The sunken sun blooddyed.” , we can see that the poet only use eleven words to show the grandeur and power.(Xu 1993) In the original poem the author use three lines to describe the vision and he use end rhyme, so in translation version translator use “strides, tide dyed” three words which contend the same end rhyme. The short sentence expresses the strong power and the end rhyme keep the poetry form. Classification of Images in Mao Zedong’s Poetry The unique style of Mao Zedong’s poetry is vigorous, romantic and powerful. 9 The poet always takes advantage of a scene to express his emotions, as well as a hero to convey his lofty ambitions. His works are always the interpretations of persistent pursuit and firm faith toward an ideal world. Even in extremely difficult days, he worked on his utmost to strive and never lost faith in his lofty ideal and thus created his own world full of images in words. According to the state of being of image discussed above, the image in Mao Zedong’s poetry can be divided into two parts: static images and dynamic images. Static Images Image can be static or dynamic. Static images refer to those which are motionless and often caused by nouns. In Mao Zedong’s poetry, nouns as “山”、“水”、“天”etc. Occupy prominent positions and pose a particular set of static image. Mao uses a series of images of towering mountains, including those in general and specific ones, to depict the