国内针对中国古典诗词翻译中“信”与“雅”的研究已取得了不少成果，但少有文献专注于二者间微妙的平衡关系，如何在忠于原文的同时传达出中国古典文化的独特韵味，这一问题仍有待进一步探讨和明晰。本文从意、音、形三个角度对许渊冲及肯尼斯•雷克斯罗斯版李清照《声声慢》的译文进行了分析，研究发现，在汉诗英译中，能兼顾“信”与“雅”的译文自然是最佳的选择；但是当两者发生冲突时，许渊冲及肯尼斯•雷克斯罗斯皆重“雅”而适当的牺牲了“信”。这两位大家的译文在一定程度上都存在创译，通过增添或删减原诗意象而保证英文读者能感受到李清照原诗的美感。 然而，尽管许渊冲和雷克斯罗斯都十分强调译文的优美，但是他们在处理 “信”与“雅”的平衡问题上却不尽相同。许渊冲译本牺牲了更多形态上的忠实，以保证译文赋有更多的意境美和音律美,而雷克斯罗斯则通过最大程度上忠于原诗的形态，向西方读者再现了中国古典文化的异域风情。

Elegance and faithfulness as two standards in literature translation have been widely discussed and studied, but the research specially focusing on their subtle relationship in translating ancient Chinese poetry is still inadequate. The question that how to convey the unique Chinese beauty without losing too many of the original poem’s characteristics still needs further discussion. Through analyzing elegance and faithfulness from sense, sound, and form in Xu Yuanchong’s and Kenneth Rexroth’s renditions of “Sheng Sheng Man” by Li Qingzhao, this paper finds that the translations that achieve both elegance and faithfulness can be regarded as the best translation, but when elegance and faithfulness cannot be fulfilled at the same time, Xu’s and Rexroth’s renditions both emphasize more on the beauty of the translated poems. To some extent, they both recreate the original poem by adding or omitting certain parts of the original image to make sure readers can experience the beauty of Li Qingzhao’s poem. However, although Xu and Rexroth both attach great importance to the elegance of translation, the extent is different, that is, the balance between elegance and faithfulness differs in their renditions. Xu abandons more faithfulness in form to endow the rendition more beauty in sense and sound, whereas Rexroth keeps the original form to the greatest extent to convey the exotic beauty of ancient Chinese poetry.