" That Giles does not translate that section highlights their differences. Giles never addresses the beloved, but refers to him in second-person, as if had been stricken from the mind of the poet and could not now be addressed but only spoken about. "For his coming shall not I too yearn? Since my lord left -- ah me unhappy day!"
It is not that Giles' speaker no longer is in love, but they no longer retain an image of the beloved as someone who can be addressed directly. It is easier for them to address the clouds than to address him. One may also notice a subtle difference between the speaking of his return as well. Miao referring to him as having "went away," and yet has also stated as a fact that "when people separate they always reunite" -- so it may be only a matter of time, which the final lines insist has no end. Giles, on the other hand, does not say that all those who leave return, only that "I see other dear ones to their homes return" but that the beloved himself has "left [on an] unhappy day."
That the poet in Miao's translation is waiting lovingly and patiently for the return of the beloved and that in Giles' that poet is only wishing hopelessly and bitterly is obvious in the final word choice. Miao's final lines read: "My love...
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Indeed, the trajectory of the narrative involves exacting revenge on those who prevented her marriage from taking place. Although the Bride's marital aspirations might suggest that she holds a conservative sensibility, this is far from the case and she is ultimately more aggressive than Jen. While Jen also exhibits physical prowess, her sacrificial gesture at the film's conclusion signifies how she maintains a strong reverence for the Confucian moral code,
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