 A variety of styles have been used in efforts to translate Du Fu 's work into English . As Burton Watson remarks in The Selected Poems of Du Fu , " There are many different ways to approach the problems involved in translating Du Fu , which is why we need as many different translations as possible " ( p. xxii ) . The translators have had to contend with bringing out the formal constraints of the original without sounding laboured to a Western ear ( particularly when translating regulated verse , or lǜshi ) , and accommodating the complex allusions contained particularly in the later works ( Hawkes writes that " his poems do not as a rule come through very well in translation " — p. ix ) . One extreme on each issue is represented by Kenneth Rexroth 's One Hundred Poems From the Chinese . His are free translations , which seek to conceal the parallelisms through enjambement and expansion and contraction of the content ; his responses to the allusions are firstly to omit most of these poems from his selection , and secondly to " translate out " the references in those works which he does select . 
 A variety of styles <a href='been_done' title='1'><mark>have</mark></a> been used in efforts to translate Du Fu <a href='null_genetive' title='2'><mark>'s</mark></a>work into English . As Burton Watson <a href='uninflect' title='3'><mark>remarks</mark></a> in The Selected Poems of Du Fu , " <a href='dey_it' title='4'><mark>There</mark></a> are many different ways to approach the problems involved in translating Du Fu , which is why we need as many different translations as possible " ( p. xxii ) . The translators <a href='been_done' title='5'><mark>have</mark></a> had to contend with bringing out the formal constraints of the original without sounding laboured to a Western ear ( particularly when translating regulated verse , or lǜshi ) , and accommodating the complex allusions contained particularly in the later works ( Hawkes <a href='uninflect' title='6'><mark>writes</mark></a> that " his poems do not as a rule come through very well in <a href='negative_concord' title='7'><mark>translation</mark></a> " — p. ix ) . One extreme on each issue is represented by Kenneth Rexroth <a href='null_genetive' title='8'><mark>'s</mark></a>One Hundred Poems From the Chinese . His are free translations , which seek to conceal the parallelisms through enjambement and expansion and contraction of the content ; his responses to the allusions are firstly to omit most of these poems from his selection , and secondly to " translate out " the references in those works which he <a href='uninflect' title='9'><mark>does</mark></a> select . 
A variety of styles done been used in efforts to translate Du Fu  wrk into English . As Burton Watson remark in The Selected Poems of Du Fu , " It is many different ways to approach the problems involved in translating Du Fu , which is why we need as many different translations as possible " ( p. xxii ) . The translators done had to contend with bringing outt the formal constraints of da original without sounding laboured to a Western ear ( particularly when translating regulated verse , or lǜshi ) , and accommodating the complex allusions contained particularly in the later works ( Hawkes write that " his poems do not as a rule cum thru very well in no translation " — p. ix ) . One extreme on each issue is represented by Kenneth Rexroth  One hunnit Poems From tdaChinese . His r free translations , which seek to conceal the parallelisms thrthrujambement and expansion and contraction of thdaontent ; his responses to the allusions are firstly to omit most of these poems from his selection , and secondly to " translateouttt " thedaferences in those works which he do select .