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中国古典诗论的“入出说”理论用“入”与“出”来形容诗歌欣赏审美活动的两个环节，很好地揭示了诗歌阅读欣赏的审美规律。作者应用这一理论研究了诗歌的翻译，发现在诗歌翻译的过程中存在着两个“入”与“出”的循环。第一循环中的“入”指的是“入以知音”，理解原诗的内容美和形式美；“出”指的是研究与原诗有关的背景资料，以加深对原诗的理解。第二循环中的“入”指重新与原诗作者感情上的同化，实现原诗内容与形式之美的传达与转换；“出”指的是对译诗作远距离审视，使之日臻完善。这样就从理论上论证了案头研究工作和不断修改、精益求精对诗歌翻译的重要性，有助于我们从总体上把握诗歌翻译审美的规律。
The theory of “entering and leaving to say” of Chinese classical poetics uses “entering” and “exiting” to describe the two aspects of poetry appreciation of aesthetic activities, and reveals the aesthetic law of reading and appreciation of poetry well. Using this theory, the author studies the translation of poetry and finds that there are two cycles of “entering” and “coming out” in the process of poetry translation. “Into” in the first cycle refers to the “Into Appreciation” to understand the content beauty and formal beauty of the original poem; “Out” refers to the study of the background information on the original poem in order to deepen the understanding of the original poem. “Entering” in the second cycle refers to re-assimilating emotionally with the author of the original poem and realizing the transfer and transformation of the beauty and content of the content and form of the original poem. “Out” refers to the long-distance examination of translated poems to make them perfect. This proves theoretically the importance of desk work and constant revision and improvement on poetry translation, which helps us to grasp the general law of aesthetic translation of poetry.