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¡¡¡¡From Bian Zhilin's interpretation of the standard of translation in the Chinese tradition, this article analyzes his the-ory of versification based on the blending of the classical Chinese and modem European poetics,  and probes into the importance of his theory and its significance in the reconstructing of the Chinese culture so as lo better appreciate the dialectical relationship between inheriting and development,  borrowing and originating in terms of translation and creation. The establishment and develop-ment of vernacular new poetry is a field after Neo-cultural Movement at the beginning of the 20th century so that genera-tions of poets have been strenuously searching and exploring the form for it. With his sensitivity as a poet, Bian Zhilin holds that faithfulness plays an essential part in translation, and in translating poetry the internal and external forms of the poetry must be taken into consideration. So he combines the traditional with the modern, absorbing the essence in the western poetry and crea-ting some new forms not without connection with the tradition. In the light of the rules and regulations of the modern Chinese and its internal rhythm, he advances the theory of rhythm based on “pause” namely, using pauses each of which consists of two to    three syllables to make a line of no more than five pauses with neat and clean rhymes. He believes that among all sorts of western poetry sonnet is the only one that best resembles the circular way of classical  Chinese poetry with its well-knit form, thus by applying his theory lo the practice of sonnet translation and creation, he has accomplished monumental achievements. With his special way in “transforming the classical and the European”.   Bian Zhilin's poetry translation and his theory of versification has shed light on the renewal and  development of the Chinese culture.