This article introduces the important position of ancient Chinese women's poetry in the history of poetry development, as well as the history and current situation of its Russian translation. Since the 1950s, several Russian sinologists have started translating ancient Chinese women's poetry, with Basmanov being the most influential. In 1986, he published the first collection of Russian translations of ancient Chinese women's poetry, "Poems of Love and Sorrow," which included 101 poems by 27 female poets from the Song, Ming, and Qing dynasties. In 1993, Basmanov published "Gathering and Separation", which translated 227 poems by nearly 70 ancient Chinese female poets, making it the most significant translated poetry collection in Russian translation history. Basmanov divided ancient Chinese women's poetry into two categories: love poetry and landscape poetry, believing that they were true love poetry, effectively refuting the fallacy that ancient China did not have love poetry. But his pan romantic manipulation of the emotional theme in the original poem resulted in a foreign rewriting of ancient Chinese literary history.

1、 Text Comparison and Analysis: The "Pan Loveization" of the "Emotion" Theme in Ancient Chinese Women's Poetry

In depth exploration was conducted on the handling of the theme of "emotion" by Russian sinologist Basmanov in translating ancient Chinese women's poetry, especially how to express the "pan romanticism" in these poems. The article analyzes how Basmanov transformed the emotions based on marital identity in the original poem into more universal love between men and women, such as translating "affection" as "love", thus changing the patriarchal nature and social identity of marital emotions in the original poem. Through comparative analysis, the article reveals Basmanov's transformation of emotional themes and character identities in the translation process of the original poem, such as translating "lovesickness" as "love", "husband" as "lover", and "divorce" as "no longer in love". These translations not only blur the emotions and social relationships in the original poem, but may also alter readers' understanding of the poem's themes and emotional expressions. In addition, the article also discusses Basmanov's "romanticization" of the possible friendship themes in the original poem, such as translating "Ji Jun" as "возлюбленый" (lover), further illustrating the emotional and cultural transformation issues in the translation process.

2、 Attribution Analysis of Translation: The Romantic Tradition in European Poetry and the Translator's Misunderstanding

When translating ancient Chinese women's poetry, Basmanov misread the theme of "emotion" in the original poem as "pan romanticization". This misreading stems from the differences in literary and cultural systems between the source language and the target language, as well as the translator's masking of these differences based on their own traditions. There are essential differences between the "love poems" in Europe (Russia) and ancient Chinese poetry genres such as "resentment poems" and "contemplation poems". The theme of "love" in European literature became the core during the Romantic period, emphasizing the free expression of individual emotions, while the "emotional appeal" in ancient Chinese poetry is based on the marriage structure, and the marriage system is part of the feudal patriarchal system. Basmanov's translation was influenced by the European tradition of "love poetry", misinterpreting the marital emotions in ancient Chinese poetry as "love" and ignoring the emotional types and cultural connotations of the original poem. This kind of misreading not only occurs in the translation of "poems about women" and "poems about women", but also in the misreading of the "theme of friendship", resulting in the "emotional" theme of the original poem being homogenized and "romanticized" in the translated poem.

3、 Literary Effect Analysis: The Construction of "Love Poetry" and the Rewriting of Ancient Chinese Literary History

Basmanov's translation operation led to a transformation in the image of female lyrical protagonists and male lyrical receivers at the literary aesthetic level, and the emotional type in the original poem was uniformly classified as "love", resulting in a single category of ancient Chinese women's poetry. The translator constructed a sequence of "love poems" in ancient Chinese women's poetry, rewriting the history of ancient Chinese poetry and even literature. The ancient Chinese women's poetry in Russian form has become an independent literary collection from the original poem, but it is still considered equivalent to the original poem among target language readers.

4、 Conclusion

Through text comparison and analysis, it reveals how Basmanov generalized the theme of "emotion" in ancient Chinese women's poetry to "love" between men and women, and constructed a sequence of "love poems" in the Russian literary field, rewriting the history of ancient Chinese literature. The article points out that there are essential differences between ancient Chinese poems about women, poems about women, and European love poems, which are the root cause of translators' misreading and mistranslation. The article argues that there was no "love poem" in the Western sense in ancient China, but this viewpoint is only a factual judgment, not a value judgment. The ancient Chinese women's poetry has its unique cultural and aesthetic characteristics, and Basmanov's translation, while constructing the sequence of ancient Chinese "love poems," also obscured these features.