Flowers full of the path,
So many posies heavy their branches,
In the garden of Huangsiniang's.
Butterflies dance between them,
Orioles sing freely upon them,
In the garden of Huangsiniang's (dream).
It's the June in Xihu lake,
Special than other season for any sake.
So green lotus leaves touch the sky ,
Their sun-shining flower red especially (high)。
Make a house in the earth,
No horse no cars with noise.
What could you do here?
Your leaving by just thinking.
chrysanthemums taken beside eastern fence,
Where you can see the South hill.
Air in hill beautiful when sunset,
Birds back to nest in pair.
So many truth in it,
I just can't say what it is.
Spring went by Rain and Wind,
Spring come after snow and cold.
One flower bloom,
Even the ice still in cliff.
She just tell us the news,
She never say she is the spring.
When all the other flowers bloom,
She just smile among them.
括号里的可以省略，还是很粗浅，见笑。
When I look up,I think of you far away. Are you thinking of me at the same time,my friend?
When I look up at the sky,I will think of you far far away. Are you missing me at this very moment my dear?
* 猫迷zhidao英语专家团提供内【Real。American。English。】容
这样说吧：
1.当直译目标读者看不懂或不易看懂
2.当直译不通顺或读起来不顺口
3.当直译引发歧义
4.当直译失去原文意境
5.当直译没有对应语言
6.当直译背离原文逻辑或意思
7.当直译无法押韵、对仗或存在格式冲突
8.当直译表达不准确或不贴切
9.当直译无法实现
10.当直译存在语言文化冲突
1-10情况用意译，否则直译。
至于要增译、补译、减译、改译什么、怎么变通，也是遵循以上原则，反过来即可（但要按照一定优先级进行）。
以上为本人意见，仅供参考。
五言古诗
王维
送别
下马饮君酒， 问君何所之？
君言不得意， 归卧南山陲。
但去莫复闻， 白云无尽时。
Five-character-quatrain
Wang Wei
AT PARTING
I dismount from my horse and I offer you wine,
And I ask you where you are going and why.
And you answer: "I am discontent
And would rest at the foot of the southern mountain.
So give me leave and ask me no questions.
White clouds pass there without end."
七言绝句
送孟浩然之广陵
李白
故人西辞黄鹤楼， 烟花三月下扬州。
孤帆远影碧空尽， 惟见长江天际流。
Seven-character-quatrain
A FAREWELL TO MENG HAORAN ON HIS WAY TO YANGZHOU
Li Bai
You have left me behind,old friend,at the Yellow Crane Terrace,
On your way to visit Yangzhou in the misty month of flowers;
Your sail,a single shadow,becomes one with the blue sky,
Till now I see only the river,on its way to heaven.
From hill tohill no birds in flight， 千山鸟飞绝
From path to path no mean in sight. 万径人踪灭。
A straw--clocked man in a boat， 孤舟蓑笠翁，
Fishing on rever dad covered is snow. 独钓寒江雪。
毕竟西湖六月中
风光不与四时同
接天莲叶无穷碧
映日荷花别样红
The West Lake in June,when all is said and done
For all the seasons never the same is the scene
The lotus leaves touching the sky in boundless green
The lotus flowers specially red in shining sun 马（李贺）
大漠沙如雪，燕山月似钩。
何当金络脑，快走踏清秋。
The desert sands are blown like flakes of snow
the moon of yan shan is bent like a bow
O that my bridled stssd in golden hand
should stamp the lofty autumn of this land.
错。
总的来说，汉诗英译既要保留原诗之意，又要使译文符合目的语语体的表达规范。英文诗也是有格式的。
最突出的一点是，和汉诗类似，英诗也讲究用韵。毕竟诗歌正是因为有韵律读起来才朗朗上口的。
根据韵脚的位置，英诗有头韵，尾韵，甚至还有中韵。汉诗英译时要注意韵脚和音节数。
在押韵和音节数，以及措辞风格，尽量和汉诗保持一致。拿莎士比亚十四行诗（十八）举例来说： 莎士比亚的十四行诗（十八）我是否可以把你比喻成夏天？ Shall I compare thee to a summer's day？虽然你比夏天更可爱更温和： Thou art more lovely and more temperate：狂风会使五月娇蕾红消香断， Rough winds do shake the darling buds of May，夏天拥有的时日也转瞬即过； And summer's lease hath all too short a date：有时天空之巨眼目光太炽热， Sometime too hot the eye of heaven shines，它金灿灿的面色也常被遮暗； And often is his gold complexion dimmed，而千芳万艳都终将凋零飘落， And every fair from fair sometime declines，被时运天道之更替剥尽红颜； By chance,or nature's changing course untrimmed： 但你永恒的夏天将没有止尽， But thy eternal summer shall not fade，你所拥有的美貌也不会消失， Nor lose possession of that fair thou ow'st，死神终难夸口你游荡于死荫， Nor shall death brag thou wander'st in his shade，当你在不朽的诗中永葆盛时； When in eternal lines to time thou grow'st，只要有人类生存，或人有眼睛， So long as men can breathe,or eyes can see，我的诗就会流传并赋予你生命。
So long lives this,and this gives life to thee.全诗的基本格律是五音步抑扬格（iambic pentameter），包括三个四行组（quatrain）和一个对偶句（couplet），采用典型的莎氏十四行的韵式，即abab cdcd efef gg在韵脚（end rhyme）方面，第二行的temperate与第四行的date押韵，但两个词的重音位置却不同，这一韵就既非阳韵（masculine rhyme）也非阴韵（feminine rhyme），显得不伦不类，与其它严整的韵对比，这一韵念起来令人颇感突兀，破坏了诗歌的音韵美。头韵（alliteration）方面，第六和第七行都以And 起头，形成头韵，但这两个并列的简单陈述句从意义上看，造成了语意在同一水平上徘徊而不是递进，而且用相同的And起头使两句不仅在语意也在形式上显得拖沓而无变化，破坏了诗歌的音韵美和形式美。
韵格（meter）方面，五音步抑扬格的诗歌是常有破格的，特别是在诗歌首行的第一个音步，经常是前重音后轻音。适当的破格可使诗歌免于呆板，增加变化，使音韵更显其美。
但过多的破格就会打乱诗歌的格式，使其音律显得零碎，给诗歌带来负面影响，本诗即是如此。第一行“Shall I compare thee to a summer's day？”中的“thee to”是无法按轻重音的顺序来念的，第二行“Thou art more lovely and more temperate”中的两个more是强调，要念重音，因此这一行的韵格就不是抑扬格了。
第六行“And often is his gold complexion dimm'd”中前两个音步的轻重音位置是模糊的。第十行“Nor lose possession of that fair thou owest”中的第一个音步可以看作是破格，第十一行“Nor shall Death brag thou wander'st in his shade”中的“Nor shall Death brag”重音和轻音顺序应是“重轻重重”，也不是抑扬格。
坦白说，你这个可是翻译界的“课题”级别的。
就我们古诗翻译课上学到的东西来看，中国的译者偏向于“音译”，即偏重保留古诗的押韵的美感。同时，翻译比较严格的保留了诗歌本来的字面意思，即便遇到英语中没有的内容，也偏好通过注释等来补充。
而国外的汉学家翻译的古诗则基本是“意译”，不太注重古诗本身的字面意思，也不偏重音韵的优美。很多时候外国的汉学家翻译过去的已经不成为“诗”，而更像是散文。
推荐你可以看下英美现代诗歌早期的代表人物Ezra Pound，此人翻译了无数中国古诗，并且在20世纪初在欧美掀起了一股中文古诗热。他的翻译还是很具有代表性的。希望你能够从中找到一些灵感。
