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PrefaceHongLouMeng(HLMforshortinthisthesis)isagreatclassicalChinesenovelwritteninthemid-eighteenthcenturyduringthereignofEmperorQianlongoftheQingDynasty.IntertwinedwiththetragiclovebetweenJiaBaoyuandLinDaiyu,thisnoveldepictsmultifariouscontradictionsinfourbigaristocraticfamiliesrepresentedbythefamilyofJia,anddisplaysmanycharacteristicsofChinesefeudalculture,includingclothing,food,architecture,socialsystem,conventions,philosophy,educationandart,etc.Thenovelinvolvesovertwohundredbeautifulandwell-designedtraditionalverseswhichnotonlyconstituteaninseparablepartofthewholework,butalsoreflecttraditionalChineseculture.Uptillnow,HLMhasbeentranslatedintooveradozenforeignlanguagesincluding9Englishversions,amongwhichYangXianyi&GladysYang’sADreamofRedMansionsandDavidHawkes&JohnMinford’sTheStoryoftheStonearecompleteversionsandthetwomostoutstandingones.Comparedwithstudiesonthetranslationofthenarrationinthisnovelandtheculturalinformationinvariousaspectsindailylife,studiesonthetranslationofitspoetryaretobefurtherdeepened.Inthisthesis,theauthorwouldviewtheEnglishtranslationofthepoetryinthisnovelfromthereproductionofthewriter’sintentionsandtheconveyanceof“ThreeBeauties”.Bystudyingthetranslationofthesepoems,wemayseethenecessityandpossibilityofthetranslationofthepoetryinthisnovel.Theprincipleofthe“ThreeBeauties”whichisaguidetothetranslationandcriticismofpoetryrefersto“beautyinsense,beautyinsoundandbeautyinform”.IthasbeenputforwardagainbyProfessorXuYuanchongbasedonhispredecessors’researchandhisownpractice.Itmeansthatthetranslatorofpoetryshouldendeavortomakehis/herversionfaithfultotheoriginal.Buthe/sheshouldnotstopjusthere:fromthispointthetranslatormustcontinuehis/herefforttobringouttheoriginalbeautiesinsense,insoundandinform,thatis,totransferrhymedversesintorhymedones.Inthisthesis,theanalysisandassessmentofthe“ThreeBeauties”involveexaminationoftheuseofimagery,rhymeandrhythmandthearrangementoflines.Translationisconsideredasaprocessactualizedbythetranslatorwhohashis/herownsubje