英语专业翻译方向论文

1. Introduction

Ba Jin is an outstanding writer. He also is an excellent translator in Chinese literature history. His vision of The Happy Prince sell well in China in the past several decades. He has a sense of aesthetics in translation. The version translated by Ba Jin perfectly reflects his aesthetic thought. The version has simple wording, vivid image and fresh style. In recent years, more and more scholars have begun to focus on the translation of Ba Jin’s The Happy Prince . The thesis focuses on exploring Ba Jin’s version--The Happy Prince from strategies and features in translation.

Through this study, it is found that translator should not omit the core of the origin text during the translation, on the contrary, the aesthetic information as its ultimate goal to be taken representative. This thesis will be helpful for those scholars who want a deep understanding about Ba Jin’s aesthetic thoughts on translation and stimulate people ’s interest to the aesthetic translation. By summing up experience and lessons learned in this field, more and better works will be published.

2. Translation Aesthetics

Aesthetics is a philosophical branch of inquiry concerned with beauty, art and perception. Translation aesthetics has a long history. There are few points about translation aesthetics. Liu (2004: 45) thinks that “the formal system is constituted by physical, natural properties and external components that directly build up images ” . Mao (2005: 97) discusses few topics about beauty in his book, including the beauty of sounds, the magic words, emotion, and so on . He defines the Translation Aesthetics is the study on aesthetic subject, aesthetic object and the aesthetic activities in Translation Aesthetics, this is the first time that translation aesthetics as the title in his book, he briefly reviewed the development history of Chinese translation aesthetics, concluded that “the basis of theory in traditional Chinese translation theory is aesthetics ”. Translation aesthetic object contains the original work and target work; translation aesthetic subject contains reader and translator; aesthetic activities have many details, including aesthetic judgments, aesthetic appreciation, creative aesthetic representation and so on.

Liu (2004: 78) pointed out that “the combination of translation theory and artistic aesthetics is the basic characteristics of Chinese traditional translation theory ” in his book, [1]

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in which he analyzes the aesthetic subject and aesthetic object briefly. Translation is a progress, including comprehension, transformation and improvement.

2.1 Aesthetic Subject

Nida (1963: 45) said “Translator is the aesthetic subject. A good target text not only has a bearing on the aesthetic constituents of its aesthetic object, but also has a bearing on the aesthetic subject ’s ability. When they are both in the integrating aesthetic relationship, translating, as the progression of aesthetic representation, should be endowed aesthetic effect” . Fu (1993:79) states that there are two aesthetic subjects during translating work--translator and receptor . Translator plays a very important role in translation. Aesthetic subjects refer to those people who can make judgment under the specific condition. Aesthetic subject is called “second reality ” by Tytler (2009: 32) because it is different form reality, and it has two types: translators and readers. Translator is the aesthetic subject of origin works, while reader is the aesthetic subject of the target works. Translators play a crucial role in translation. Translator should understand the works first, and then transform the meaning to target works. Translator is a active part in aesthetic translation. Considering the receptors, Mark (1997: 124) thinks that translator not only transform the main meaning to target work, but also aesthetic

consciousness, culture accomplishment and aesthetic experience .

Lao Zi (1999: 223) holds translator is the aesthetic subject of target text, he plays a very important role in perceiving, judging and evaluating original text and transforming every detail into target text, the deeper he understands the original text, the higher the quality of

translation work would be

.

Liu (2004: 35) thinks that the translator should start translating work from the children ’s

angle . So it is indispensable that the translator to master three aesthetic conditions: aesthetic consciousness, culture accomplishment and aesthetic experience .

(1) aesthetic consciousness

Aesthetic consciousness refers to the perception of aesthetics or a sense of aesthetics, they are from translator ’s instinct. In children ’s world, everything is so quite and simple, everyone is so friendly, their thoughts are very different from adults ’. If children think the world is imbalance after reading a book, the book is not a good one.

(2) culture accomplishment

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A good translator should have original language knowledge, target language knowledge and other related professional knowledge. As a translator of children ’s literature, the necessary knowledge is to know characteristics at different ages. If the translator apply children ’s language for adult, it should be very ridiculous to read such a translated work.

(3) aesthetic experience

As a translator, he must have enough vocabulary as well as syntactic resources, and he can use them flexibly in different situations. During translating works, translators should master translation methods, which will be helpful to make him acquire his aesthetic experience. For translators, aesthetic experience is quite important, especially in the translation of children ’s literature.

Reader can be divided into two types-- adult and children. As readers, they are quite different. Adults have their own aesthetic standards. During reading works, they won’t accept the information from target works. Because they are capable of judging, evaluating and appreciating what they read. Also they can comprehend the knowledge that they have never heard, Their experience and relevant knowledge offer translators convenience to translate target works. While children are quite different from adults, children like literature which describe truth, beauty, honesty and kindness. They think that it is full of peace and love in the world around them. Children are curious, they will pay all their attention to new scene or environment, no matter it is bad or good.

2.2 Aesthetic Object

According to Liu’s (2004: 35) opinion, aesthetic object refers to source text [1]

. Its

aesthetic values should be founded upon its aesthetic constituents. There are two categories, one is aesthetic superstratum elements, which refers to the features of the form of a language such as the characteristics of its phonology, lexicon and syntax. It is called the beauty of form in aesthetics, such as image, style of source text. It could be perceived directly. The other constituent is non-superstratum. There is no direct relationship between it and linguistic form. E (1978)has quite different idea from Liu (2004), he thinks that aesthetic object includes

source text and target text

. As real reflection of the reality, aesthetic object is called “third reality ”by Zhi (2006)

. Aesthetic objects can cater to people ’s aesthetic needs. Liu (2004) divided aesthetic objects into two terms: form system and non-form system

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Form system has two salient features. Firstly, it relates to susceptible feelings. Secondly, that form is a complicated conception.

According to Liu’s opinion(2005),the non-form aesthetic constituents can be divided

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into four scopes:sentiments,ideals, images and symbols .

3. Ba Jin’s Aesthetic Thoughts in Translation

As we all know, Ba Jin’s works are the solid foundation in Chinese literature,as a famous novelist in literary world, he has abundant aesthetic thoughts on translation. He provides lots of works for us. But few scholars pay attention to his aesthetic thought. He is famous for his novel in the modern literature world. Literature world pays more attention to his works at the beginning of his creation. But the study on his aesthetic thought in his novel has not been given sufficient attention. It is necessary to explore and summarize Ba Jin’s aesthetic thought. Ba Jin’s translation benefits from his extensive knowledge.Through the translation practic on children’s literature, Ba Jin acquires a lot precious experience, also he has a childlike heart, which makes children bound up in his works. All these experiences make him to become a first-class translator,and to achieve a great success in translation.

3.1 Ba Jin’s Career as Translator

Ba Jin is a writer, also is a productive translator. All people know him as the writer's identity, but few people know his identity as a translator. He had built numerous characters. What he does in translation and writing pushes him to be an outstanding scholar. Many foreigners seek advice form him constantly. Ba Jin’s aesthetic thought in translation in the process of his translation work come from his accomplishment in Chinese language and English language,his rich experience and writing talent,his unassumingness and perseverance,etc...Generally speaking, all of these qualities play a crucial role in the comprehension and replication of aesthetics in The Happy Prince.

Ba Jin has the idea of translating The Happy Prince few decades age, but he just didn’t dare to start. He decides to start the translation work in middle March of 1942. In the rest time of 1942, Ba Jin finished a portion of translation, three short stories--The Selfish Giant, The Happy Prince and The Nightingale and the Rose. After that moment, he was disappointed to his own translation, so he lost confidence suddenly. The more worse thing happened during the war in 1944, his handwriting were burned after he put them back to the bookrack. Ba Jin didn’t give up, he started again in 1946, two years later, he ultimately finished the translating.

Thinking back, we can notice that the new start is good for the translation, because he became more mature in choosing words and dealing with the different cultures than the first time, also he had a deep understanding to the source work during such a long time. Ba Jin is worthy of our respect，no matter as a writer or translator.

3.2 Ba Jin’s Aesthetic Translation Thoughts

There is no standard for the definition of children’s literature,it has its own characteristics. Firstly, the details in children’s literature are dramatic and easy to understand, story lines are beneficial for promotion of the children’s interests, wit and taste.Secondly, children’s literature has an education function. Its language is meaningful,simple stories illustrate the profound truth. Thirdly, children are the target receiptor of children’s literature, so the language should be full of childlike innocence.In this way, can the works win the favor of children,to attract more readers.

Children’s literature is quite different from adult literature.The former needs more special attention. Through years study in translation and language,Ba Jin has his own untouchable thoughts on translation.

3.2.1 Ba Jin’s Language Features in Translation

When people talk about Ba Jin’s translation, they always concern with literal translation. Ba Jin shows children’s world on different levels.

Firstly of all,Ba Jin’s language is very simple and colloquial. Children’s literature has become a hot topic in recent years. More and more translators and writers have realized that receiptors preferred to hear the sound of words and phrases. To meet the needs of children for rhythm and sounds,writers and translators try to make the language of their works sound nice, vivid and smooth. Ba Jin’s works are well-known, because some works written or translated by him are looked as stories. His wording is simple and easy to understand,readers,especially young readers feel familiar to the language,also it is benefit to understand other narration.

Secondly,the most foregrounded during Ba Jin’s translation is the sound beauty. In children’s language,musical sound and noticeable characteristics are indispensable. We can find that there are so many interjection, exclamation and onomatopoeia in the conversation. Some writers and translators regard it as trivial or useless details, in fact, these elements are very important for translation. They are helpful to make the conversation more lively and

interesting, attracting more young readers. Ba Jin’s translation sets a good example in this respect.

Lastly, Ba Jin focuses on the literal translation. He won’t omit every source language point. The target readers are European, so we can find Europeanized sentences in his works. These structures cause difficulties in understanding for children, however, as we all know, the readers and receiptors are not only the children, but also adults,it sounds reasonable.

3.2.2 Ba Jin’s Aesthetic Attitude in Translation

The aesthetic attitude is defined as the attitude to the aesthetic objects. It is influenced by many factors. One of the most factors is the inner desire and interest, it always exists in our minds.

During the translation, the translators may extend the emotion or express his own sentiment if he love the original writer or this work, also he may take a quite initiative in the process of translation. Just as the excellent translator Roman(1959: 93) said, there are two standards to judge whether a translator is befitting to translate a original work. The first is wether the translator has interest in the source work, or the translator enjoys the source work;

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The second standard is whether the translator has eyes to find every artistic element.

Ba Jin says, he just chose those works which cater for his emotion or taste. His first translating is Signal,he has a great enthusiasm for this book, and his own sensibilities in it.

Sometimes Ba Jin not totally goes along with the original authors, but every work is excellent in his eyes. He wants to open his heart to the readers through his own works and translation. Initially, Ba Jin was just trying to translate, while after he finished, he would be quite excited and very appreciate his own achievements.

Wilde’s fairytales have few Significant features, such as beautiful and integrated style, the poetic language and the musical tone. Ba Jin was interested in them. He praised Wilde from the bottom of his heart. Wilde is a writer famous for his childlike language and his beautiful works, and he has his own characteristic style and rhetoric. Ba Jin said that he learned how to be a straight shooter after translating work.

This positive aesthetic attitude to ensure Ba Jin's insistence, even in a bad situation he can modify his manuscripts and finish the translating.

Ba Jin and Wilde hold a similar idea on the importance of the form, they both think that

form has a major influence on the literary.Ba Jin thinks that inferior should serve content, and he firmly believe that translators and writers in China never stop seeking for a form which can express their ideas freely. Wilde often regards form as the start point for the creation of works, the next one is ideas and then devotion. The form should be suitable for conveying original writer’s emotion incisively and vividly, attract more receiptors, and enhance the reader’s sense of aesthetics.

A literature work can have many translators and countless readers. Every translator expresses his own aesthetic thoughts in his translating through his unique method. Each of them does their utmost to be faithful to the source work, but it cannot stop permeating the embodiment of personal judgment on aesthetics in translation. Ba Jin has his own principle in translation is that he tries his best to be faithful to the source work.

Aa Jin focuses on the creative power during the translation.He has always insisted on the tone and style, this is the reason why so many people love Ba Jin’s visions.

4. Ba Jin’s Aesthetic Translation in The Happy Prince

Part three provides a brief introduction to Ba Jin as a translator, and his unique aesthetic thoughts in translation. In this part it is requisite to analyze Ba Jin’s achievement in translating works. Ba Jin translated version The Happy Prince is very popular in a period of time. Therefore,this study takes Ba Jin’s vision of The Happy Prince as an example to explore the aesthetics in the source work, to explore Ba Jin’s concrete manifestation of aesthetic elements in his vision,and how he takes aesthetic enjoyment to target readers.

In fact, the key point of translation work is to make the target text to the maximum extent similar with the original text in aesthetics. No translator can produce a perfect text.If an imperfect to be a consummate one by translating,it is regarded as a palimpsest,not translation. In Yan’s opinion (1998: 167), aesthetic thoughts can be embodied in many ways, such as the Nationalization issues of the beauty of form; the filiation between national cultures and the beauty of form; the relation between form and content; how to make the aesthetic ideality to

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be specific things .

Before explore the aesthetic thoughts in translation, it is helpful to analyze the aesthetic features in The Happy Prince. For clarity,this thesis probe into the aesthetic thoughts in Ba Jin’s vision from three aspects: poetic language,image and style, these aspects are interdependent to each other in an organic whole and even overlap in some cases.

4.1 Representation of the Poetic Language of The Happy Prince

In literary art, scholars always regard language as the vehicle. Readers are attracted by literary language firstly when read writings. If the art cannot attract reader’s attention with best story and original concept, it indicates that there is no good https://www.360docs.net/doc/719458844.html,nguage is like outerwear of writings, it contains words, phrases, sentence, paragraphs and discourses. There are many details in the process of expressing aesthetic thoughts and showing the original images, such as grammar,sentence structure and logic and so on.

Beauty of language is determined by many aspects, including the choosing of words, sentence patterns and other linguistic expressions. A complete translation starts from original text and ends up with target text, so the transfer process of aesthetic thoughts is also from the original text to the translation. The external aesthetic elements are regarded as the form of language,the connotative aesthetic elements are content. The content contains not only the meaning,tone and sound,but also lingering charm and mood.

4.1.1 Features of Language in The Happy Prince

In Wilde’s fairytales, the most prominent feature in language is smoothness. In Ba Jin’s vision of The Happy Prince, there is a prominent feature is poetic language, no matter in describing a scene, telling a scenario, or making a dialogue, the language is always vivid and smart.

There are five stories in The Happy Prince--The Nightingale and the Rose; The Selfish Giant; The Devoted Friend and The Remarkable Rocket.They are all filled with fantastic imagination and delicate sarcasm with simple colloquial language. All these cater for tastes of children and adults. Ba Jin owns a good language foundation and rich writing and has a very high capacity in comprehending the original text and applying target language.All these advantages have a promoting effect on Ba Jin’s translating work. He transfers the beauty of original text at utmost to the vision of The Happy Prince. The beauty in the original language gets represented in the largest degree in his version of The Happy Prince.

4.1.2 Specific Representation of Language in The Happy Prince

People who read this book will be deeply touched by its story, like The Nightingale and the Rose, this story focuses on the representation of the process in which the nightingale pressed her breast against the thorn all night to make a red rose with her blood for the student she loved.

......“Swallow, Swallow, little Swallow,” said the Prince, ‘”will you

not stay with me for one night, and be my messenger ? The boy is so thirsty,

and the mother so sad” (Oscar Wilde1996:165) .

......“燕子，燕子，小燕子，”王子要求说，“你难道不肯陪我过一

夜，做一回我的信差么？那个孩子咳得太厉害了，他的母亲太苦恼了”

（巴金 2010:202） 。

After read this paragraph, readers notice that what is musical tone. There are about ten “s” in original text, which create sad atmosphere. The Prince begins with the repetition of “Swallow ” to request the Swallow to stay with him, it is simple and rhythmic. There are two “so”s in Prince’s request, which give the request an irresistible force.

In comparison with the original text, the translation version made some adjustments by Ba Jin. He translates “said” into “要求说”，which embodies the tone of request. He also adds some qualifiers, for example, he adds “做一回”before “be my messenger ”. It expresses Prince ’s great sadness with plain words. Readers can notice that there is no strong sense of order in the Happy Prince ’s words, but simple, euphonic and so sad that no one has the heart to refuse him.

Readers not only read the book, but also hear the sounds of wordings. In order to meet needs for rhythm of readers, writers and translators should make the language sounds vivid and lively.

And the pink and white doves are watching them, and cooking to each

other(Wilde1996:245) .

那些淡红的和雪白的鸽子在旁边望着，一面在讲情话（巴金 2010:302） 。

There are onomatopoeic words in this paragraph to imitate the birdcall, such as “twitter ” and “coo ”. Ba Jin transfers those birdcall into “讲情话”. It makes readers being immersed in this image.

4.2 Representation of Image

In fairytales, the particular images are the hinge in translation. According to Wang (2007), “image ” is regarded as “a picture formed in the mind ”, “the general opinion about a [12] [13] [12] [13]

person, etc ” . Proper images are regarded as the soul of article, so it is quite significant in translation. At the beginning of translation, the first thing translator should consider is images. The remarkable translators can master skills in typical case of the original images to make the readers of target text have the same experience as the original receptors. Wether the images can be embodied successfully or not depends on the level of the translation of translator. So as a translator, in order to transfer characters skillfully between different languages, it is indispensable for him to know well both native language and foreign language.

4.2.1 The Function of Images in Literature

What this thesis is about to discuss is comprehensive meaning of images in narrative writing, it leads to psychic picture scroll through the optical imagination. In recent years, the meaning of image has reduced to two common aspects: optical representative and visible expression. The two meanings are interrelated and mutually transformed. The images are the literature expressions, it is formed by language brought together in brain. In general, there are various images in a literary work--specific imagery and simulated imagery, implied and inventive. Image is integrated in the language in heads, not conceptualized mental patterns. A writing contains various images, such as specific image, simulative image, implied image and inventive images, various macro images (scenes, characters, events) and micro images (symbol, metaphor).

4.2.2 Representation of Special Images in The Happy Prince

After Peter (1988: 54) declared that the practice images plays a very important role in

visualize image in the process of translation [15] , Holmes (1972: 87) has made statement that

translator ’s work is to create a similar images

. “Translation is to represent the images in various works created by the original writer in another culture ” Liu (2004: 98) .

A translator can be regarded as a reader, because he must read the source text before he starts writing. It is a process of re-creation from the perceiving of the images in translator ’s mind to the reproduction of the images in his target text.

Every reader would have a deep impression on the nightingale as well as rose. In the western countries, nightingale is regarded as a simple bird with a clear voice and charming body. Many scholars get inspiration from the image of nightingale, while rose is a general symbol of true love, especially the lovers long for but cannot easily own. Look at following

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examples:

......And when the moon shone in the heavens the Nightingale flew

to the Rose-tree, and set her breast against the thorn. All night long she

sang, with her breast against the thorn, and the cold crystal Moon leaned

down and listened. All night long she sang, and the thorn went deeper and

deeper into her breast, and her life-blood ebbed away from her (Wilde

1996:295) .

.......等着月亮升到天空的时候，夜莺便飞到蔷薇树上来；拿她的胸

脯抵住蔷薇刺。她把胸脯抵住刺整整唱了一夜，清澈的冷月也俯下头 来

静静听着，她整整唱了一夜，蔷薇刺也就刺进她的胸膛，越刺越深，

她的鲜血也越来越少了（巴金 2010:355） [13]

。

......And the marvelous rose became crimson, like the rose of the

eastern sky . Crimson was the girdle of petals, and crimson as a ruby was

the heart (Wilde 1996:303) .

......这朵奇异的蔷薇变成了深红色，就像东方天空的朝霞。花瓣的

外圈是深红的，花心红得像一块红玉（巴金 2010:403） 。

Readers are moved by the nightingale ’s self-sacrifice. In order to help the student to get his love, the nightingale devotes its own life. In nightingale ’s mind, love is so wonderful that it deserves its own life. In Ba Jin’s vision, images have been embodied perfectly. Because he has have a deep understanding to the original images before he starts his translation. Reading Ba Jin’s vision, we can feel that he has already been that environment. He transfers “the cold crystal Moon” into “清澈的冷月”，”When the moon shone in the heavens ” into“等着月亮升 到天空的时候”, “the rose of the eastern sky” into “就像东方天空的朝霞”, “Crimson was the girdle of petals, and crimson as a ruby was the heart” into “花瓣的外圈是深红色的，花 心红得像一块红玉”.

We often see the words in Chinese poetry, such as 月升，冷月 and 朝霞. Children is sensitive to images, so these images are embodied in reader ’s mind as if they read those sentences. Even though long time later, it still remains in reader ’s minds. Magical imaginations like colorful garlands and bright stories.

4.3 Representation of Style

Style, as an important element, has maintained in the translation. Proper style makes the [12] [13] [13]

translation more receivable.

4.3.1 Concept of Style

Style can be regarded as the deviation in language, it is a very complicated case during translation. Style contains language, structure, tone and background, etc. According to Mao (2000) style is a especial manner of expression in texts; and it is the way how writers describe

things .

A characteristic style can make a writer or translator popular, at the same time, he also faced with the challenges. Zhang (2001) mentioned that translators should have a deep understanding to the original style and romantic charm firstly, then applies it into the

translation .

4.3.2 Representation of Style in The Happy Prince

Ba Jin has keen eyes to find every detail in original text, and quick thinking to reproduce the Chinese vision.

“That is a very selfish reason,” said the Tocket angrily. “What right

have you to be happy?” You should be thinking about others. In fact , you

should be thinking about me. I am always thinking about myself, and i

expect everybody else do the same. That is what is called sympathy. It is a

beautiful virtue, and i possess it in a high degree . Suppose, for instance,

anything happened to me to-night what a misfortune that would be for every

one.....! (Wilde1996:212-213) .

“这个理由太自私了，”火箭生气地说。“你有什么权利高兴？你得

想到别人。事实上你得想到我。我常常想到我自己，我希望每个别的

人都想到我。这就是所谓同情。这是一个美丽的德行，我倒有很多很

多。譬如，假设今晚上我出了什么事，那么对每个人都会是多大的不

幸！.....”（巴金 2010:403） 。

Ba Jin shows us a vivid figure of Rocket in spontaneous way just like it in the original text. This Tocket ’s monologue, he is a mirror of selfish people, he puts himself in the centre of all people’s attention, But it is impossible. Tocket feels good, but no one pays attention to him, he is arrogant, also lamentable. It is full of satire, we can notice this from some words, like “always ”, “in fact ” and “high degree ”, etc. We can get the information that “Popular ” Rocket has a rough thought. Ba Jin uses some words, such as “得”， “倒有” and “都”. No [2] [17] [12] [13]

matter he uses the words in direct way or adds them by his wonderful imagination.After reading this passage,a selfish figure vividly in front of us like it in original text.

Ba Jin reproduced those stories in The Happy Prince with his aesthetic thoughts: the great Nightingale, the Selfish Giant, Swallow’s self-sacrifice, and so on. Ba Jin retains the style of original text, and gives the same characters to target readers.

5. Conclusion

Ba Jin, as an excellent translator, he devotes himself into translation. He introduces The Happy Prince in his unique way, not only children love his translation work, but also many translators learn skills from him. In this thesis, readers get more knowledge about aesthetics, including aesthetic subject and aesthetic object. There is an analysis on Ba Jin’s aesthetic thoughts from his language features and aesthetic attitude in translation, and how his aesthetic thoughts are applied in The Happy Prince detailedly from poetic language, style and image. We find that Ba Jin has unique aesthetic thoughts in translation, other scholars can learn his language ability and aesthetic ideal in his translating of The Happy Prince, especially those translators who want devote their life to children’s literature. Through this thesis, it is found that during the translating, the translator should not stop at transmitting the logic information of the source text, but should take the representation of the aesthetic information as its final goal,also readers get more knowledge about Ba Jin’s aesthetic thoughts in translation.

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