1。2Research Purpose and Significance 1

2。 Literature Review 2

2。1The Historical Origin of Translation Aesthetics 2

2。2 The Modern Development of Translation Aesthetics 2

2。3 Concepts Related to Translation Aesthetics 3

2。3。1 Translation Aesthetic Object and its Aesthetic Constituents 3

2。3。2 Translation Aesthetic Subject and its Attributes 4

2。3。3 Aesthetic Representation 4

3。 Representation of Aesthetic Values in TAO 5

3。1 Aesthetic Representation of the Formal Aesthetic Values 5

3。1。1Representation at the Phonic Level 5

3。1。2 Representation at the Lexical Level 9

3。1。3 Representation at the Syntactic Level 10

3。2 Aesthetic Representation of the Non-formal Aesthetic Values 13

3。2。1 Beauty of Sentiments 13

3。2。2 Beauty of Artistic Conception 14

3。2。3 Beauty of Style 15

4。 Conclusion 16

4。1 A Summary of the Performances of Translators 16

4。1。1 Performance in Dealing with Sense 16

4。1。2 Performances in Dealing with Form 16

4。1。3 Performances in Dealing with Spirit 17

4。2 The Room for Improvement in Both Versions 17

4。3 The Limitation of the Research 18

References 19

Appendix 20

1。 Introduction

1。1Research Background

It has been widely acknowledged that literary translation is a sophisticated aesthetic activity, in which prose poetry translation is included。 Prose poetry is adored because it combines merits of both prose and poetry: there is no lack of poetry’s smart and bouncing imagination, nor prose’s liquidity and fluency owing to its unrestrained form。 With concise and poetic language, vivid images, profound artistic conception and abundant sentiments, prose poetry carries beauty derived from multiple levels。 来自优Q尔W论E文R网wWw.YouERw.com 加QQ75201.8766

As Zhu Ziqing began his literary career as a poet, his writings, according to Yu Dafu(郁达夫), “are filled with poetic flavor and typically characterized by beauty” (qtd。 in 王立英, 2009)。 The prose poetry, Congcong, is one of Zhu Ziqing’s representative works。 It was written in the March of 1922 when the May 4th Movement was at a low ebb。 The spring scenery before eyes trigged the writer’s sadness and helplessness about the fleeting time。 Covered in an atmosphere of tiny depression, the passage presents the writer’s inner struggle, confusion and quest。 Employing colloquial but exquisite writing style, the whole text is united by the flow of writer’s infectious sentiments。 With the flowing, words go briskly and fluently without deliberate adornment。 The inner rhythm of language coincides with the emotions thus creates harmonious beauty。

Translation aesthetics as an interdisciplinary theory that connects translation and aesthetics provides us with a feasible perspective for translation studies, including the appreciation and criticism of versions, especially when the research objects have close relations with aesthetics。 从翻译美学角度对比散文诗《匆匆》的两个英译本(2):http://www.youerw.com/yingyu/lunwen_178166.html