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be lost if through direct translation, we cannot find equivalents in Chinese. For metaphors of this type, especially for a number of names of people and places with cultural connotations, we usually adopt this approach to translation. e.g. (29) The plan, which seems so promising, turned out to be a Pandora’s box. 看起来如此有希望的计划, 结果却是一个带来不幸的潘多拉盒子。（30）The die is cast. 骰子一出, 大局已定。 (31 ) A little pot is soon hot. 壶小易热, 量小易怒。 (iii) Non- corresponding relation As Chinese and English have their own unique culture, many metaphorical concepts only exist in either Chinese or English. In addition, there are metaphors that may have similar literal meanings, but their metaphorical meanings are totally different.[37] Metaphors of this kind have non-corresponding relations and we should adopt the following two approaches to the translation of these metaphors: (a) Conversion of metaphor to sense. For certain metaphors, the degree of correspondence between source language and target language is very low. Under this condition, we should take connotation as the first and image as the second. That’s to say, in translation of metaphors, sometimes we have to change the image in source language in order to correctly express the connotations. Under this condition, the approach of conversion of metaphor to sense can be applied. e.g. (32) the heel of Achilles 致命的弱点 (33) Love me, love my dog. 爱屋及乌 (34) Homer sometimes nods. 智者千虑，必有一失 (35) I supported him from the egg to the apples though he once told me off. 虽然他曾责备过我，但是我自始至终支持他。 (b) Deletion. Just from the literal meaning of “deletion”, we know that through this approach, the metaphor is deleted in translation. If a metaphor can find no metaphorical equivalent in Chinese, and after a thorough analysis of the text, we find it is redundant and its function has been fulfilled in other parts of the text, we can choose to directly delete it. Through this approach, the original aesthetic value may be lost and the force of infection in source language may be lessened. Of course, sometimes it is inevitable. But the translation can complement the loss brought about by deletion of images through other means. The four-word idioms in Chinese often can play this role.[38] e.g. (36) The ship is plowing the sea. 船在乘风破浪。 (37) By the winter of 1942 their resistance to the Nazi terror had become only a shadow. (Winston Churchill) 到了1942年冬季，他们对于纳粹恐怖统治的抵抗已经名存实亡了。 (38) I have a dream that one day even the state of Mississippi, a desert state sweltering with the heat of injustice and oppression will be transformed into an oasis of freedom and justice. (Martin Luther King, Jr. I Have a Dream) 我有一个梦想，有一天，甚至那倍受屈辱和迫害的凄凉的密西西比州，也将改造成自由与公正的绿洲。 In example (38), the Mississippi is compared to a desert which forms a sharp contrast with oasis. However, in the translation, the desert is not translated, but replaced by “凄凉的” to express the speaker’s intention. In doing so, the translation can avoid misunderstanding that Mississippi is a real desert state. 5. Conclusion Based on the belief that metaphor is not only a linguistic phenomenon, but also a cognitive mode, the main idea of the thesis is to talk about the translation of metaphors from English into Chinese from the perspective of cultural differences between Chinese and English. For this purpose, the body of this thesis is divided into three parts. T