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It can be understood as the relationship between a reader and a text, and this can be put in a variety of ways.
解释学循环可以理解为读者和文本之间的关系，有不同的理解方法。
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Censorship only comes into play once a text has actually been in circulation for a while, only after a number of readers have found a published text to pose a threat.
控制仅仅是一本书已经出版发行一段时间,一些读者已经发现这印刷的文本,造成威胁时才起作用的。
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The reader projects before himself a meaning for the text as a whole as soon as some initial meaning emerges in the text.
一旦文本开始构成意义读者,就会对整个文本,做出自己的解读。
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nd this convergence can never be precisely pinpointed, but must always remain virtual, as is not to be identified either with the reality of the text or with the individual disposition of the reader."
而我们永远无法指出，“…,这种会合的确切位置，这个空间会一直以虚拟形式存在,不论是客观的文本,还是带有个人特征的读者都无法辨别它“
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It's neither in the text nor in the reader but the result of the negotiation back and forth between the text and the reader, he says, that sort of brings the literary work into existence in a virtual space.
它不在文本中，也不在读者的视域中,而在反复阅读文本和读者的视域之中，他说，那样会把文学作品,放到一个虚拟的空间中去。
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At bottom, Empson doesn't really settle into the rigorous consideration of the author, the text, or the reader as if they were separate functions.
实际上，Empson并不会,仔细考虑作者，文本，读者这些因素,就好像他们各有功能一样。
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In other words, the effort of a reader in coming to terms with the meaning of a text is an effort to master the subject matter, what is there, what the text is really about.
也就是说读者为理解文本,做出的努力,就是来掌握事情本身，存在的努力，掌握文本究竟是关于什么的努力。
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For Empson, there's a kind of a fluid and easy movement back and forth between what for hermeneutics are three very different phenomena: author, text, reader.
对Empson来说，在作者，文本，读者之间,诠释学里认为这是三种非常不同的现象：,在三者之间有一种流畅的反复的关联。
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