The translation of Scottish literature has a long history, but the Scottish translation of Chinese literary works did not begin until the 19th century and the quantity was limited. In recent years, with the revival of Scottish literature, the translation of Chinese literary works into Scottish has gradually increased, covering different periods such as pre modernism, modernism, and postmodernism. The intersection between Scottish and Chinese literature can be traced back to Pound's "Huaxia Collection", which had a profound impact on English modernism. The Scottish translation of classical Chinese poetry is of great significance, and this article will analyze the translation characteristics of translators such as Legge, Douglas Young, David Purvis, Edwin Morgan, and Hobson. In addition, modern Chinese poetry has also been translated into Scottish, such as "Mother Tongue" by Gitimaga, but this article does not address the translation characteristics of modern poetry.

1、 Legge: The Scottish Folk Songs of the Book of Songs

Robert Crawford mentioned Jacob's Scottish translation of Chinese poetry in his book 'The Scottish Book'. Li Jacob is from Huntley, Aberdeenshire, Scotland. He worked at the London Missionary Society in China and translated the Analects and the Book of Songs. His version of the regulated verse "The Book of Songs" was translated in Darul Village, Scotland. Three of the works selected from the "Book of Songs" were translated in Scottish, two of which were translated by Legge himself, and the other was translated by his nephew John Legge. These translations are presented in the form of Scottish folk songs, which Legge calls' scotic è '. Legge believed that Chinese classical poetry and Scottish folk songs in the Book of Songs could be regarded as cultural equivalents, so rhyme steps were used instead of individual syllables in translation, and the length of each line of poetry increased, but the number of verses remained unchanged. His translations did not receive much favor, and Pound had studied these translations but did not like them. Later, when Pang De translated Chinese classical poetry himself, he did not adopt the approach of Legge, but used Chinese classical poetry to subvert and correct the traditions of English speaking countries. Pang De edited Fenorosa's paper and discussed the suitability of Chinese as a medium for poetry creation. The success of Pound's "Huaxia Collection" created a cultural context in which Scottish translators had to take into account the spirit of modernism when translating classical Chinese poetry. In the Scottish Renaissance of the early to mid-20th century, only a few classical Chinese poems were translated into Scottish. It was not until the emergence of translators such as Douglas Young, Sidney Guther Smith, and Edwin Morgan after World War II that this situation was able to improve. Sidney Smith compares Li Bai with Robert Ferguson, a typical Scottish poet in the 18th century, in his two poems, which reflects the integration of different traditions.

2、 Douglas Yang: Translation of Chinese Ancient Poetry under the Integration of Scottish Folk Songs and Scottish Characteristics

Douglas Young was a classical poet of the Scottish Renaissance, who translated poems from the Book of Songs into Scottish. His translation style was similar to Jacob's English translation, but there were significant differences. Yang's translation transforms the second person into the third person, making the work more in line with the Scottish folk style. By comparing the English translation of "Shan You Shu" in the Book of Songs with the Scottish translation by Yang, it can be seen that Yang's translation adopts the traditional Scottish folk style, namely the 4-3 stress alternation form, which changes the meaning of the poem from implicit to explicit. Yang's translation strategy tends to be more domestication, concretizing the elements in the original text into corresponding objects in Scottish culture, such as concretizing "clothing" as "coat/coat", and "carriage" as "Clydesday horse" and "carriage". This translation method not only reflects Yang's modernist identity, but also further attempts at Jacob's appropriation of Chinese classical poetry, enhancing the Scottish characteristics of the translation.

3、 David Purvis: Literary Scottish Translation of Ancient Chinese Poetry

David Purvis inherited and developed Douglas Young's appropriation technique when translating ancient Chinese poetry, forming a literary Scottish translation style. As a Scottish language activist and editor, Purvis is dedicated to elevating the status of the Scottish language. He has translated numerous works in Chinese, Japanese, and Russian and published them online or in booklet form. Perseus also pays special attention to the orthography of the Scottish language and showcases the expressive potential of literary Scottish through his poetry and theatrical works. His translation work was influenced by the English translations of American poet Kenneth Rexroth and the poetry of Hugh McDiarmid. Although Perseus' translation is simple in wording, it can arouse attention to imagery, such as translating "the beginning of the white wind" as "why horses skin off more the wund", which enhances the expressive power of imagery.

4、 Edwin Morgan: Synthetic Scots Translation from a Modernist Perspective

Perseus is committed to translating the English version of classical Chinese poetry into Scottish, with the aim of elevating the status of the Scottish language and showcasing its orthographic system. Edwin Morgan integrated Chinese classical poetry with Scottish tradition by translating the English version of Pound's "Ancient Wind: Hu Guan Rao Wind and Sand". Morgan's Scottish translation adopts a mixture of ancient and contemporary Scottish languages, emphasizing sound rather than visual images, and its translation style is modern and complex. Morgan promoted literary Scots in the 1960s, advocating for non dialectal Scots. Although it was rejected by some modernist poets, it attracted new modernists. His translation attempts to blend different modernist styles, such as Pound, Williams, and Montenegrin poets. Morgan's translation of Scottish poetry seeks balance in the fusion of modernism, sparking discussions on its consistency with the original Chinese text and Li Bai's position in translation.

5、 Hobson: The Fusion of Scottish Language and Chinese Classical Poetry Tradition

Hoben is a Scottish translator with excellent Chinese literacy, and his work 'Independence' provides English and Scottish versions of ancient Chinese poetry. When translating 'Nine Songs: Xiangjun', Hoben cleverly used the words' ay 'and' see 'alternately in the Scottish version to imitate the musical rhythm of the original text. His translation reflects the Scottish poetry tradition, as seen in the influence of Robert Burns in 'Bukit sae brawlie'. Hobson's Scottish translation is intensive and literary, drawing inspiration from traditions such as McDiarmid. His translation not only showcases the meaning of the original Chinese text, but also integrates Chinese classical poetry with the Scottish poetry tradition. Hobson's translation work is not limited to Scottish traditions, but also uses different language resources to mediate between various traditions. His second poetry collection, "Difficult Roads and Cold Harvesting Winds," includes Scottish translations by Li Bai and Du Fu, published by Tagan Publishing House.

6、 Conclusion

The translation of classical Chinese poetry into Scottish over the past 150 years has demonstrated the exchange of literary culture between China and the Soviet Union. James Legge, a pre modernist translator, depicts the encounter between Chinese and English cultures from a folk traditional perspective, and his translations have a folk flavor. In the early 20th century, Scottish Renaissance translators discovered the similarities between Chinese classical poetry and Scottish folk songs, while paying attention to their modernist features to enrich Western poetry. In the late 20th century, translators such as Douglas Young, Purvis, and Morgan demonstrated the expressive potential of the Scottish language through various forms of translation. Hoben's translated works blend Scottish, English, and Gaelic, translating directly from Chinese, respecting the content and form of the original work, and reflecting the interweaving of Chinese and English cultures.