【正文】 聶珍釗， 2021， ) After the horse died, Tess thought she was the one who killed the horse and dragged her parents into quagmire, she was silently wondering what she could do to help them out of it。我到這兒來(lái)，先生，是想告訴你，我們都是一個(gè)家族的人。 Nie: “ 是我母 親讓我到這兒來(lái)的，”苔絲接著說(shuō)，“說(shuō)實(shí)在的，我自己心里也愿意來(lái)。先生，我是來(lái)告訴你們，我們和你們是親戚?！?(張谷若 , 2021, ) Sun: “ 母親要我來(lái)的，”苔絲接著說(shuō)，“不過(guò)實(shí)際上我自己也想來(lái)。不過(guò)沒(méi)想到會(huì)是這樣。 聶珍釗， 2021， ) Facing the concrete environment, a house lit with only a din candle, our heroin Tess naturally felt great change since she just came back from the cheerful recreational parade of girls held in the open country and her heart still clung to the outside play and amusement. The hyperbole “天上人間” adopted by Mr. Zhang in translating “ what a step” accurately reflected the actual feeling of Tess when facing the gloomy scene. Though the other two versions “真有天壤之別啊！” and “ 這是多么巨大的差異??！” also expressed Tess’ s feeling, while as for our Chinese readers, we are quite familiar with the different extent of the gap among“天上人間” ,“天壤之別”and“巨大的差異” , so it can be easily seen that only Zhang’s version“天上人 間” can better reflect Tess’s mental gap between the heavenly happiness and the worldly suffering. (2) “ Mother asked me to e,” Tess continued。Urbervilles to see how these translators deal with the concrete environmental elements. (1) From the holiday gaieties of the field—the white gowns, the nosegays, the willowwands, the whirling movements on the green, the flash of gentle sentiment towards the stranger—to the yellow melancholy of this onecandled spectacle, what a step! ( Thomas Hardy, 2021, ) Zhang: 從剛才野外過(guò)節(jié)那種歡樂(lè)的氣氛里 —— 白色的長(zhǎng)衫，叢叢的花束，柳樹(shù)的柔條，青草地上翩躚的旋舞，青年過(guò)客一時(shí)引起的柔情 —— 來(lái)到這蠟燭一支、光線昏黃的慘淡景象中，真是天上人間了！ (張谷若 , 2021, ) Sun: 剛才置身于戶外，陶醉在慶祝節(jié)日的歡樂(lè)之中 —— 白色的連衣裙、芬芳的花束、柳條兒、草地上的翩翩起舞，以及她內(nèi)心深處對(duì)那位陌生小伙子所產(chǎn)生的一陣柔情 —— 此刻步入這僅有一支蠟燭的令人郁悒的昏暗環(huán)境里，真有天壤之別??！ (孫致禮， 2021， ) Wang amp。 interlingual translation means the translation between different tongues. This thesis focuses its analysis only on the latter one. There are in history innumerable explanations about what translation is. But in nature, they mostly fall into one or another of these four models: conventional, literary, linguistic, and teleological. This thesis talks about the second prevailing model of defining translation regards translation as a form of literary recreation. It requires that the TL text produce the same kind of literary effect as the SL text. In the view of artistic translation theorists, translation is an artistic reality, a creative reproduction of the original. Literary texts are geared to the uniqueness of artistic expression and, as a result, often reach a semantic, denotative, connotative and associative range of plexity. The textconstitutive principle is not the strict adherence to lexical and syntactic norms, but semantic, metaphor, and stylistic innovation. The definition of situational context Different scholars have different definition of situational context. Here we just want to quote the three most significant scholars’ theory about context of situation as our theoretical basis to analyze the influence of it on translation. It is mon believed that Malinowski (1935) was the first one who coined the term “context of situation”, which was presented as something that speaking subjects experienced sensuously and directly. It can be concluded that Malinowski’s context of situation as subjective experience is far from a theoretical construct. While Firth (1957) reiterated the abstract nature of context of situation, which was regarded as schematic constructs to be applied to language events. As for him, the schematic construct is merely a group of related categories which stand at a different level from grammatical categories but are of the same abstract nature. (Firth, 1957, ) Firth’s notion of context of situation has been inherited and further elaborated by Halliday (1976), who abstracted all the elements of settings where the text occurs three variables that are relevant to the meaning of the text: the wellknown tripartite models of context—field of discourse, tenor of discourse and mode of discourse. Field of discourse refers to the social action, . what the participants are engaged in doing, like “reporting a news sport or teaching a swimming lesson”. Tenor of discourse refers to the socially meaningful relationships between participants, including their permanent social statuses and specific roles, the former refers to those relatively stable roles which are defined without reference to language, like that of doctor, the teacher, the judge, and so on。 “何時(shí) ” when—the time of the munication。 “ 何人 ” who—the participants and their relationship。 Hasan, 1976, ) . . Hymes’ Contextual Theory American distinguished sociologists . Hymes also made his great contribution to the study of the context. According to his study， (Hymes, 1972) context prised 8 ponents, which respectively are the form and content of text, the setting, the ends (purpose and oute), the key munication, the medium, the norms of interaction and genre (type of text), the participants, the key, the medium, the genre and the international norms. Hymes (1972) pointed out that when people municated, they uttered appropriately on the basis of the different time, places and occasions, that is, the municative petence, which was formed by the interaction of people and social environment. People’s utterances not only conformed to the language rules but also suited the verbal surroundings. Domestic studies of context As early as in Southern Dynasty, Liu Xie, a famous Chinese literary theoretician, used the interrelations among words, sentences, chapters and texts in his famous work “Wen Xin Diao Long” (《 文心雕龍 》 ) to illustrate the important role of “上下文 ” (context) during expressing and understanding the meaning of utterance. While it is generally believed that context study