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Introduction介绍
Prose, as an important literature style, has come into been since ancient China. 作为一个重要的文学风格，散文，中国古代以来到现在使用的都比较广泛。As well as other literature styles, it reflects the civil life, changing of each era and people’s inner world. In the twentieths century, prose achieved a new peak because of the deep emotions given by the special society that full of changes and wars. Meanwhile, Chinese people began to introduce the excellent Chinese literature works to western countries since closed-door policy does not exist any more. The Chinese-English translation stepped into a high stage. 加强中国的英语翻译成一个阶段性高目标。
It is known to all that translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. It transfers the information between different languages and cultures. It may be safe to say that translation is a means of communication bridging the gap between different cultures. Literature is liked by people since ancient times because it is rich in representations and full of art charms. In order to get a profound knowledge a world literature, literature translation appears and activates aesthetic experience in the readers.为了获得渊博的知识，一种世界的文学方式，文学翻译的出现提升了读者的审美经验。
In this paper, the author tries to analyze the relationship between prose translation and translation aesthetics. Firstly, the paper will expound the beauty of prose, which we always feel beautiful, but not everyone knows why. Secondly, the paper will introduce the achievements of translations theory and aesthetics theory, which can give readers a primary knowledge of translation aesthetics. Then, aesthetic subject and object, the essential elements of translation aesthetics will be discussed. Thirdly, the paper will discuss four aspects that should be paid more attention to in Chinese-English prose translation. The author hopes people will get a better understanding of translation aesthetics and put it into practice through this paper.
2. The Definition and the Beauty of Chinese Prose中国散文的定义和美感
2.1The Definition of Prose诗文的定义
Prose is one of the most typical forms of written language. 散文是最典型的书面语言形式之一。It is a kind of literary style that characterized as free, flexible and no constraints or limitations. And a prose always has one or more central ideas but expressed in several ways such as lyric, narrative and logic. Thus there are critical debates on the construction of prose. Generally speaking, a prose has a simple and loose structure which led to its adoption for the majority of spoken dialogue, factual discourse as well as topical and fictional writing. It is commonly used, for example, in literature, newspapers, magazines, encyclopedias, broadcasting, film, history, philosophy, law and many other forms of communication. (http://en.wikipedia.org/wiki/Prose)http://www.ukassignment.org/lxslw/
2.2 The Beauty of Chinese Prose中国散文美
The beauty of Chinese prose that wins prose a good reputation can be summarized as the following:中国散文之美有着良好的声誉，可以概括为以下几点：
Firstly, scrambled in appearance but united in spirit. Scrambled in appearance refers to that prose can draw the materials extensively, free from the constraints of time and space. And its technique of expression never sticks to one pattern. For example, prose can describe characters and care of lyric to post comments. Meanwhile, the authors can make revisions freely according to contents. United in spirits focuses on the conception, i.e, the theme is clear and concentrated. No matter how extensive the content is or how flexible the expression technique is, they all served as to convey the theme in a better way.不管内容是多么广泛，表现手法如何的灵活，他们都以更好的方式，担任传达的主题的重任。
Secondly, the conception is deep. Prose put more emphasis on reproduce the authors’ life experience with a strong and sincere emotion. By using imagination and association, the writers can melt feelings in scenery or a certain thing, thus the authors will achieve the unity of him and the reality. Hence, a more far-reaching idea will appear and lead the readers to a new stage.
Thirdly, prose is gorgeous in consisted and beautiful language, as well as the literary grace. The beauty refers to fresh and bright in language, full of musicality. The concise, means brevity.
3. Translation Aesthetics in Literary Translation
3.1 Previous Achievements of Translation Aesthetics
The research of translation aesthetics has a long history in western countries. John Dryden formulated three basic approaches to the problems of translation: metaphase, paraphrase and imitation (Bassnett, 2008: 64). Alexander Fraser Tyler put forward three basic principles: a) The translation should give an integrated transcription of the idea of the original work; b) The style and manner of writing should be of the same character with that of the original; c) The translation should have all the ease of the original composition.
In China, translation theory starts since the twentieth century and had a blossom since 1980s. For example, Yan Fu’s “three–character guide”, which is, faithfulness, expressiveness and elegance; Lin Yutang’s translation criteria: faithfulness, smoothness and beauty; Xu Yuanchong’s three beauties”: the beauty in sense, in sound and in form (1992) and Jiang Qiuxia’s Image-G-Based Model (2002).
3.2 Essential Elements of Translation Aesthetics翻译美学的基本要素
With thousands of years of progress, translation aesthetics today has developed to a comparatively mature state. The task of modern translation aesthetics is to analyze, explain and solve aesthetic problems in the transformation of languages with the help of basic principles of aesthetics. By absorbing the essence of traditional translation theories and modern aesthetics, contemporary translation aesthetics is founded with its own theoretical frame.
3.2.1. Aesthetic Object审美对象
Aesthetic object refers to the objective thing involved in aesthetic activities (Liu, 2005). As translation is a bilingual activity, there are two translation aesthetic objects, the source language text and target language text. The former is the fruit formed by the writer, based on his own cognition and feelings. Different from the real world, the first reality, it is the reflection of the objective reality of the real world. Bearing the specific features of the original writer, it can also be called the second reality. While the target language text is the third reality, it is the result of the language transference. It is not a simple copy version in another language, but the translated version processed by the translator. Inevitably, the translated version would bear the characteristics of each individual translator, with whose thoughts and linguistic activities the translated versions come into being.
During the translating process, the aesthetic constituents of the source language text should be analyzed before being transferred to target language properly. The aesthetic constituents of source language and target language texts include the presentational constituents and the non-presentational constituents.源语言和目标语言文本的审美成分包括的表象成分和非表象的成分。
3.2.1.1 Presentational Constituents表象成分
The aesthetic presentational constituents refer to the linguistic forms and sounds, i.e., language structure, music form and phoneme composition. Being related to our perception, they can be audibly or visually sensed. The beauty of presentational constituents can be analyzed on the phonological, lexical, and syntactical levels (Fu, 1993:7).
Beauty of presentational constituents at the lexical level can be summarized as the “ABC” rule. Here, “A” refers to appropriateness in conveying the original meaning, and a perfect fitting in the context; “B” means beauty, which in this context means the quality of being able to give great pleasure to the mind or senses; “ C” indicates compactness, in contrast to wordiness, and expatiation and nominal descriptions are supposed to be avoided.
At the syntactical level, Sentence is a linguistic unit with a specific intonation, which can convey a comparatively complete meaning. Generally speaking, prose has no special constraints on sentence structure, but there are still some rhetorical devices of sentences that manifest the beauty of aesthetic object at the syntactical level, such as repetition, antithesis or parallelism within a text (Fu, 1993).
Non-Presentational Constituents非表象成分
Non-presentational constituents refer to the internal features of the literary work. 非表象的成分是指内部特征的文学作品。They are non-substantial and cannot be perceived directly. The non-presentational constituents are inseparable from the wholeness of phoneme, word or sentence and can be divided into four categories: sentiments, ideals, images and symbols (Liu Miqing, 2005). “Sentiments” and “ideals” refer to the objective on the author’s part. An important part of the internal beauty of literary works will be formed if sentiment and ideal is combined together. Without a complete understanding of the sentiment and ideas of the source text, the translator would not be able to select text successfully. “Image” refers to the reflection of the author’s sentiments and ideals. By using various images the author shows his inner subjective feelings into the external objects. With the subjective and the objective blended, the image becomes the sensory symbol of the literary work. With the aids of images and symbols the author creates an indefinite space of imagination for the readers.#p#分页标题#e#
As stated above, non-presentational aesthetic constituents are quite different from the presentational aesthetic constituents. They can be termed as “non-quantitative, indefinite, infinite fuzzy sets” (Liu, 2005:141). The beauty of form refers to the outward beauty reflected by the form of a language that is indirectly associated with the internal content and meaning. While aesthetic constituents of contents are those internal features of literature work, which are non-substantial, and therefore cannot be perceived directly. The non-presentational aesthetic constituents lie in the wholeness of rhymes, words and sentences. Furthermore, fuzziness is the defining feature of the non-presentational aesthetic constituents. It often happens that the aesthetics constituents can only be sensed in the source text and may not be transferred into the target text precisely and accurately. Literary works are characterized by “indeterminacy” and “blanks”, which can only be filled through readers` reading and reception. The author’s sentiments and ideals are fused in images and symbols, which form a significant part of stylistic beauty in literary works.笔者的观点和理想中的图像和符号相互融合，从而形成了风格美，成为在文学作品中一个重要的组成部分。
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