Aesthetic Appreciation of Literary Translations

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To the To Do list =1 朱素珍: Appreciation and criticism of poetry translation ——A Psalm of Life

摘要

It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.

Abstract

It is not difficult to translate poetry, and large quantities of translators and writers have provided us uncountable excellent versions of translation of poetry. As for the poetry translation appreciation and criticism, this essay would mainly discuss the appreciation and criticism of poetry translation based on the comparative analysis of different versions of translation of the same poetry——A Psalm of Life, written by Henry Wordsworth Long Fellow. After the comparable analysis of three versions, whether the cultural factor has been considered or not can be uncovered clearly. Furthermore, in the process of appreciation, people can also learn how to translate the poetry properly. Besides, such analysis is conducive to the appreciation of poetry translation in the cross-culture background, which is inspiring and instructive.

Key words

poetry translation; appreciation and criticism; comparative analysis

1.Introduction

Poetry as an important part of human literature, experienced ups and downs in the long river of history from the period of Greece to the modern days. Human varieties of emotions and feelings can be recorded and transmitted by the form of poetry, which is the essential part of human life. For China, poetry has played a special and crucial role since the ancient times, with Tang dynasty as its prime priority period. Because of its strong function of expressing people’s feelings and amazing entertainment, it is preferred by thousands of poets such us Li Bai, Du Fu, Vans, etc. At the same time, piles of wonderful poetries have appeared like the mushroom after rain. Actually, poetry is universal and common for humankind, and it is being chosen by some western poets including Percy Bysshe Shelley, Robert Burns and Emily Dickinson, etc.

According to Aristotle, literature should have the function of education, that is to say, purifying people’s mind. Poetry is positive and it provides chance for people to imitate and create their own lovely poetry, and during this period, their virtue can be promoted, so they can be more morally great. However, in Plato’s opinion, poetry is the second remove from reality, and it is the great danger for the unity of the state of philosophy. Moreover, the poets should be exiled, and there should be strict censorship for the publication of poetry. Different philosophers have different ideas about poetry. And different poets can create different kinds of poetries with rich titles and versatile structures. Besides, people speaking in different language and living in exotic culture are capable to write the poetry that is special to them. However, no matter what are the differences, one point is true: poetry is a powerful tool for people to know and create the world. Such special point is stemming from the difference of language and culture. People are not unfamiliar with Sapir Wolf’s Theory of Linguistic Relativity which put forward that language decides how people think. It is such a strong and even a little decisive theory. However, it at least uncovers the relationship between language and culture. It is understandable that language is to some extent reflects how people are thinking， and the thinking can further show the influence of culture in the process of communication. For example, in China, people would say” Have you eaten?” when they meet each other occasionally. But the Chinese are not intentionally asking whether the hearer has eaten or not, and they are only expressing a kind of greeting.

Therefore, when the foreigners hearing such a sentence, they would get confused. This is a typical example showing the culture’s important role in communication. Except for the spoken communication, culture would also influence the translation of literary works, such as poetry, novel and play, etc. In the translation of poetry, a professional translator has to put the factor of culture into consideration well in order to achieve a high-quality translation effect. Actually, poetry cross-culture translation is always an inevitable issue for translation, especially today we are in a high-speed developing cross-culture Time, naturally how to appreciate the translation of poetry is of great importance.

2.1What is poetry

First, it is necessary for us to know what is poetry. Poetry is a kind of literary style that summarizes and reflects the social life. Chinese famous writer Cao Wenxuan once said before that different from the novel, poetry expresses people’s feeling, while novelists write novels that reflect people’s experience. Poetry is the synthesis of experience rather than the experience itself. However, novel presents experience itself and leaves the feelings of experience to reader. In other words, readers need to obtain the feelings of experience by themselves after reading the novel thoroughly. But the poetry conveys the feelings directly, and readers can enjoy the wonderful feelings while reading. Here is an interesting comment about the relationship between poetry and novel: novel describes an awesome house, but poetry presents only the feelings and interjective toward the house.

Besides Cao Wenxuan, American poet Frost also has his own unique definition of poetry: Poetry is what has lost in translation. From the perspective of translation, this sentence amply points out the awkwardness and helplessness (Li Ming, 2010: 203). Second, it is important to know what is poetry translation appreciation and criticism. Before that, poetry translation should be firstly taken into consideration. Poetry is a synthesis of ideational feelings, situational image, rhymical tempo and internal expression style. Translation poetry should consider these aspects. Translators should strive to transmit the rhymical sound and the spiritual aspects of poetry when they are making the translation readable and easy to be understood. (宁会勤，2009：34)

Moreover, the translation of poetry needs the poetic talents of translator. Just as what the famous writer Lao She said:” Translators who have poetic talents should try to translate poetry in the form of poetry, and they also need to make readers not only know the contents of the book but also the way in which how such contents were conveyed.” (Lao She, 1984: 131) Such comments just explain that besides the expression of meaning, making the original poetry’s style characteristics reoccurring is extremely significant.

2.2 principles of poetry translation

Now it is time to consider the principles of poetry translation. There is a saying that translation is difficult, especially the translation of literary works among which the poetry translation is far more difficult. This can be seen from the characteristic of poetry which resembles the peak of translation art, and the poetry translation needs to consider the beauty of meaning, sound and words. Therefore, the translation of poetry is a kind of sophisticated and integrate art. When it comes to the issue how to translate poetry, translators have their own unique opinions and perspectives. For example, Guo Moruo put forward the principle of “translating poetry with poetry”; Wen Yiduo supported the principle of “using the pen of poetry to translate poetry”.

Moreover, some other translators put forward that poetry translation has two principles. Principle one is that poetry translation should pay attention to avoid the commonization of language. That is to say if translators translate poetry with plain and common even inflexible words and expressions and ignore the unique characteristics of poetic language and the individual poet’s language characteristics, which would not only fail to keep the original poetry’s expressional style but also fail to convey the spiritual soul of the original poetry (Liao Siping, Zhang Yu, 2007: 53). The other principle prescribes that the poetry translation should avoid the nationalization of poetry form. For example, it would make the poetry translation neither fish nor fowl even vulgarization if we translate the foreign poetry into our Chinese neat and uniform poetry forms like a poem with five characters in a line or with seven characters in a line or even the folk song style compulsively (Liao Siping, Zhang Yu, 2007: 53-54)

Last but not least, poetry translation is a process of recreation. What does it mean? That is to say when translators are translating poetry, they not only need to maintain the original condition in which the poetry is written but also be able to be flexible appropriately（Liao Siping, Zhang Yu, 2007: 53）. As for this point, Song Yinghao professor in Tai Wan, China once said that in the process of translation the translators need to be invisible. And he also supported the principles of “translating poetry with poetry”. Actually, after having a thorough understanding of what is poetry translation and some of the principles of poetry translation, it is not so difficult for us to understand that poetry is an organic synthesis. Poetry itself is a life body. Therefore, the translation of poetry also needs to be a “life body”, and translators have to make the vivid situations that occur in the original poetry reoccurring in the translation versions poetry.

2.3What is poetry translation appreciation and criticism

Now, we can move to what is the appreciation and criticism of poetry translation. Here “criticism” refers to the critical reading of a translation or translations(杨晓荣，2005). Translation criticism is the combination of translation criticism and translation appreciation from the perspective of content, expression, style, language and vividness on the background of cross-cultural communication. Such perspective opens a window for literary appreciation and criticism. Literary works appreciation and criticism is a process in which translators, writers and other critics can make comments on the translation versions based on some important principles. At the same time, because of the different translation experience and cultural background, different translators create disparate versions of translations. Whether the translators have conveyed the original spiritual aspects of poetry or whether they have made the translation versions readable and easy to understand. Translation appreciation and criticism can be done by translators themselves and other people who want to give some suggestions or some significant comments.

2.4 principles of poetry translation appreciation and criticism

Later, there is no doubt that we need principles to prescribe our behavior of poetry translation appreciation and criticism. Some influential translators have put forward lots of meaningful poetry translation principles. Actually, the principles of poetry translation are one of the most important criteria of poetry translation appreciation and criticism. Under the guidance of such principles the translators have the possibility to smooth the process of translation without losing the original amaze of the poetry. At the same time, these important principles can also be used to check if the translators have obeyed them or not. Thus, one of the ways in which the critics do the literary criticism occurs. By the way, translator’s subjectivity can not be ignored at the same time. Because translation can be seen as a recreation process, thus the translators can make their subjectivity work in this process. Through the integrate consideration of the original poetry creation condition and the readers’ cultural background, translators are able to translate the poetry wonderfully thus making the purpose of transmitting culture and literature realized.

3.Comparative analysis of different version of translation of poetry

In this part, it is necessary to make some comparative analysis between different versions of translation so as to do the poetry translation appreciation and criticism. As we all known, translation is also a process in which the translators try to recreate and translate. Translators are the creators at the same time. Because of their different culture background, educational background, their translation experience and some other factors, different translators can create different versions of poetry. Therefore, in this process we can experience how the translators construct and create the translation based on their embodied experience and professional quality. It is not uncommon that the same poetry may have different versions of translation. And the appreciation of translation is to analyze how the translators translate it and why they would try to translate in such a way. At the same time, translation appreciation is not just a process to appreciate it, it is also a process to learn. Translation can be seen as a bridge that relates the reader and the writer in different language background. Without translation, it is impossible to transmit the beauty and amaze of literary works to more people, not less achieving a grandeur and multi-cultural literature feast. The translators are like the builder of the bridge, and their subjective factors including attitude, spirit as well as objective factors involving building method, the natural factors and so on are a unified system that would influence how the builders construct the bridge. It is believed that there are no best versions of translation, but better one. Therefore, the unlimited nature of translation makes it possible for us to make a comparison between kinds of versions, because there is no best translation but better one.

Two parts included in this part. Apart from the appreciation and criticism of English poetry, then the analysis of Chinese poetry would be presented. English poetry is like an endless sea in which different kind of poems devote themselves into the poetry creation. Because of the limited writing space, I will choose some of the famous and significant English poetries and their corresponding translation versions of Chinese. Then it is necessary to analyze the different aspects of the different translation versions of the same poetry. It is a common place that the same poetry can be translated into various versions. At this time, which version is better and the reasons need to be explained. For example, a woman went to a shop to buy clothes. And she had tried so many dresses, shirts and blouses, etc. Then she needs criteria to help her decide which one she would like to buy. The criteria can be set by different people in various ways. But the woman is unique and she cannot be replaced by others, how about the clothes? Different clothes designers have different design rules and principles, and then we have such a colorful and multi-modal clothing world. Just like this, poetry translators are the clothing designers, and the different kinds of clothes refers to the various versions of translations. Different from the cloth designers, the poetry translators have the right to recreate, but only on the basis of remaining the original colors and styles of the source poetry. Or it will make the poetry translations neither fish nor fowl.

Let’s look at some examples of the poetry translation versions and try to make a comparative analysis between them. “A psalm of life” is the work of the excellent American Romanticism poet Henry Wordsworth Long Fellow. In 1839, Long Fellow published his first series of poems “Voice of the Night” in which the famous A Psalm of Life, A Psalm of Night were included. Long Fellow’s poems are elegant, plain and clear. His poems have greatly influenced American literature, and his poems were translated into more than twenty kinds of versions in different languages.

In A Psalm of Life, Long Fellow praises life positively, which reflects the American people’s sound in the heart, and at that time, American capitalism has entered a period of vigorous development. According to Qian Zhongshu’s research, the Chinese version of A Psalm of Life is the first western poem being translated into Chinese. It was the Dong Xun, the Hu Bu Shang Shu of Xian Feng period in Qing dynasty, that first translated A Psalm of Life in the form of seven words in a line. However, the translation at that time was not so good, so it even aroused the old intellectuals’ contempt for western literature. Later, thanks to the appearance of new versions of translation of A psalm of Life, it widely circulated in China (Li Ming, 2010: 206-207).

Now let us try to analyze the different translation versions of A Psalm of Life. First, let’s look at the original contents of this poem.

A Psalm of Life Henry Wordsworth Long Fellow

Tell me not in mournful numbers, Life is but an empty dream! For the soul is dead that slumbers, And things are not what they seem.

Life is real! Life is earnest! And the grave is not its goal; Dust thou art, to dust returnest, Was not spoken of the soul.

Not enjoyment, and not sorrow, Is our destined end or way; But to act, that each tomorrow Finds us farther than today.

Art is long, and time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.

In the world’s broad field of battle, In the bivouac of life, Be not like dumb, driven cattle! Be a hero in the strife!

Trust no Future, howe’er pleasant! Let the dead Past bury its dead! Act—act in the living Present! Heart within, and God’s o’erhead!

Lives of great men all remind us We can make our lives sublime, And, departing, leave behind us Footprints on the sands of time;

Footprints that perhaps another, Sailing o’er life’s solemn main, A forlorn and shipwrecked brother, Seeing, shall take heart again.

Let us, then, be up and doing, With a heart for any fate; Still achieving, still pursuing, Learn to labour and to wait.

This poem is short but powerful with ample contents and lucid structure, showing readers strong emotional shock. The whole poem consists of nine paragraphs, and each part has four lines, therefore, thirty-six lines in all. It can be divided into four parts to discuss the life in the eye of Long Fellow. The first two paragraphs mainly correct the wrong and depraved argument that “life is but an empty dream”, and tell readers that “Life is real! Life is earnest!”

From the third paragraph to the sixth paragraph, Long Fellow discussed the issue that how to live life and suggest people act in the living present, which is the theme of this poetry. The seventh and the eighth paragraph highlights the virtue and meaning of life. At the same time, the example of great people is used to encourage readers. Only the people who act in the living present can be remembered thus leaving footprints on the sands of time. This corresponds to what has been discussed in the second paragraph: Only the body will disappear, but not the soul of people. A person’s soul would be immortal because of the glory of life.

The last paragraph is the summary and sublimation of the whole poetry. Long Fellow appeals to readers that they should act in the living present and be brave to confront the challenges in life. Finally, the poet summarizes the poetry with a thought-provoking sentence: “Still achieving, still pursuing.”, which corresponds to the subject of the poetry——acting in the living present. The poetry is full of the optimistic spirit and ample passion, and the poetry expresses the poet’s enthusiasm and pursuit of life as well as the positive and hardworking life attitude, criticizing the decadent attitude of life is but an empty dream. Now let us see the Chinese versions of translations of A Psalm of Life.

译文一：                                     译文二： 
     生命的礼赞                                           生之颂                   

别用悲伤的语调对我呻吟， 别用悲切的诗句对我唱： “人生不过是梦幻一场”！ “人生只是虚幻的梦一场！” 因为沉睡中的灵魂已经死去， 因为昏睡的灵魂已死亡， 万物并非它们显示的模样。 而事物不是看来那模样。

生命是真实的！生活是严肃的！ 人生多真切！它绝非虚度！ 它们的终点决不是坟场； 一抔黄土哪里会是它的归宿； “你来自尘土， 必归于尘土”； “你来自泥尘，得重归泥尘，” 但这是指肉体，灵魂并未死亡。 这句话所指的并不是灵魂。

我们注定的结局和道路， 我们命定的终点和道路 既不是享乐， 也不是悲伤； 既不是享乐，也不是悲苦； 而是行动，为了每一个明天， 行动吧；要让每一个明天 使我们比今天走得更远更长。 发现我们比今天走得远。

艺术长久，韶光飞逝， 学艺费光阴，时日去匆忙， 我们的心尽管英勇而坚强， 任我们的心勇敢又坚强， 却仍像阵阵低沉的鼓声， 依然像一些蒙住的 鼓—— 正朝着坟墓把哀乐敲响。 敲打着哀乐走向那坟墓。

在世界辽阔的战场上， 在风云世界的广阔战场， 在生命的露宿的营地上， 在人生征途的野宿营帐， 别作默默无声、任人驱使的牛羊， 别像默默的牛羊任驱赶！ 要在战斗中当一名闯将！ 要争做英雄，能征惯战！

莫信托未来，不管它怎样欢畅！ 将来再美好也别空指望！ 让逝去的岁月将死者埋葬！ 让死的过去把死的埋葬！ 行动吧，就在活着的此刻行动！ 干！在活生生的现在就干！ 胸内有红心，头顶有上苍！ 胸中是赤心，上帝在云端！

伟大的人物的生平把我们提醒， 伟人的生平向我们指出： 我们能使我们的一生变得高尚， 我们能使此生超群脱俗—— 在离开人间时，也能让足印 一朝逝去，时间的沙滩上 遗留在我们身后的时间的沙滩上。 将留下我们的脚印行行。

呵，足印！也许另一位弟兄， 在庄严的生活之海航行， 当他航行在生命庄严的海洋上， 也许有兄弟会遭到不幸， 不幸遇难，看见了这些足印， 会因为航船沉没而绝望—— 他就会使勇气重新增长。 但见那脚印，又变得顽强。

那么让我们振奋起来行动吧， 让我们挺起身，行动起来， 我们准备迎接任何命运的风浪； 凭对付任何的胸怀， 永远要有所作为，不断追求， 不断去收获，不断去追求； 学会劳动，也学会等待和期望。 永远在学着苦干和等候。

              （黄新渠译）                                     （黄果忻译）

                                译文三
                                生之颂
                       莫向我吟唱，哀戚之词
                       叹生如梦境，虚无所炽
                       灵魂之沉睡，恍若长辞
                       而世间万物，伪装如缁

                       因孤坟荒土，非我命旨
                       因生之馥郁，真切如是
                       既生于尘滞，复归尘滞
                       而九天魂灵，长存如诗

                       决不为欢声，抑或悲思
                       我生之所往，道长如斯
                       集快马长剑，日日疾驰
                       待明日细数，功成如此

                       任艺业无涯，光阴飞逝
                       彼壮士之心，英勇无疵
                       奈战鼓哀亡，冢林墓石
                       怜其怨其殇，命魂所指

                       观我生所在，浮华乱世
                       观风云乾坤，辽阔如帜
                       斯牛羊傀儡，安得其实
                       唯浴血烽火，终成其事

                       纵欢娱无尽，未来未至
                       任亡者葬弃，过往已失
                       上苍行其道，我执其旨
                       即可启征铎，不枉今日
             
                       伟人之不朽，可为典示
                       倾我之所能，亦足至此
                       反肉身凡胎，终有一死
                       然我将留痕，流光之坻

                       望生命之海，风急浪蚀
                       念天行无常，苦难游子
                       而前人足迹，必将明示
                       纵满盘皆输，壮志不失

                       集生之全力，勿候勿止
                       有备则无惧，命运之矢
                       独精我所行，逐我所适
                       且耕且守望，丰收之时
                                 （张瑶译）

First of all, in terms of the title, the first translation is a tribute to life, and the second translation uses the song of life. The topic of the second translation is concise and clear, and the writing style is more ancient. The translation is relatively easy to understand in terms of overall translation, and the language is relatively plain and life-oriented. The first sentence "Tell me not in mournful numbers", the three translations have their own emphasis, the first translation is "Don't whisper to me in a sad tone", the "tell" is translated as "低吟"; the second translation is "Tell" is translated as "唱"; the third translation is translated as "吟唱".

For "Life is but an empty dream", the first and second translations both translated it as "Life is just an illusory dream", which basically achieves the effect of "expressing meaning", while the third translation is translated as "sorrowful words", the author believes that it is biased, because it does not convey the charm of "life is like a dream" in the original text, and it misses the meaning of dreams. In addition, the full text of the third translation is neatly aligned, and the rhythm is the same as the original. The first line and the third line rhyme, and the second and fourth lines also rhyme. This reproduces the prosody style of the original text. In this respect, translation one and translation two do not do so well. Translation two rhymes with one or two lines, and three or four lines rhyme also; version one hardly rhymes.

In the second section, the translation of "Life is real, life is earnest!" translates two "life" into "生命" and "生活" respectively. They are neatly opposed, but they may misinterpret the meaning of the original poem. Life is here. What exactly is meant needs to be carefully considered. In the second translation, "life" is translated as “人生", and "life is earnest!" is translated as "it is not in vain". This is a conversion of positive and negative translation, which surprises readers.

For “Dust thou art, to dust returnest, Was not spoken of the soul”, version one translated it as “你来自尘土，必将归于尘土，但这指的是肉体，灵魂并未死亡”，version one added the meaning of “it refers to the body”, making this sentence easier to be understood. Version three translated it as “既生于尘滞，复归尘滞，而九天魂灵，长存如诗“.In this translation, the translators thinks that human’s soul would not disappear, and it would last forever like poetry. However, we know that in Long Fellow’s opinion, human’s soul would remain immortal because of the glory of their life, but not because of the poetry. Therefore, here translation version three failed to convey the original meaning of the sentence. About the third paragraph, “But to act, that each tomorrow finds us father than today”, about this sentence, version two successfully maintain the original rhetorical device——personalization here, and translated it into” 要让每一个明天发现我们比今天走得远“.Version three writes that”集快马长剑，日日疾驰，待明日细数，功成如此“，which is too far away from the original text, and it cannot reoccur the amaze of the source poetry.

In the fourth paragraph, “Art is long, and time is fleeting, And our hearts ……are beating Funeral marches to the grave.” Version one translated it as” 艺术长久，时光飞逝，我们的心尽管英勇而坚强“，version two translated it as “学艺费光阴，时日去匆忙，任我们的心勇敢又坚强”； version three translated it as “任艺业无涯，光阴飞逝，彼壮士之心，英勇无疵”.From the sentence structure we can find that, the former two versions convey the original meaning better because we know that in this paragraph, here exists a comparison between the facts that our heart is brave and the facts that our heart is like a muffled drum which is beating funeral marches to the grave. Therefore, here should be words in the former part, here the words are “尽管“”任“. However, in the version three, the word”任” is used to decorate the ”art is long and time is fleeting.”, such transference actually has misinterpreted the meaning of the original text.

In the fifth paragraph, “Be not like dumb, driven cattle! Be a hero in the strife!”, this sentence is translated into three different versions. Version one:”别作默默无声、任人驱使的牛羊，要在战斗中当一名闯将！”；Version two: “别作默默的牛羊任驱赶！要争取做英雄，能征惯战！”；Version three：“斯牛羊傀儡，安得其实，唯浴血烽火，终成其事”. Comparatively, version one is more flexible, because there is no limit in the number of the words in a line. But in version two, each line must have ten words, and in version three, each line has 8 words, which is set stable. Besides, version two and three separately added the external meaning of “能征惯战““终成其事”，but in the original text it is “Be a hero in the strife”, therefore, the two versions make some external decorations to the sentence.

In the sixth paragraph, “Act—act in the living Present! Heart within, and God’s o’erhead!” version one goes that:”行动吧，就在活着的此刻行动！胸内有红心，头顶有上苍！”；version two goes that”干！在活生生的现在就干！胸中是赤心，上帝在云端！”；version three goes that”上苍行其道，我执其旨，即刻起征铎，不枉今日“；In the three versions, the former two versions are easier to understand, while the third one is more abstract because it transfers the role and function of “God”. Originally, God only is overhead, however, in version three, its function has changed, and also here the “act” is translated into”我行其旨”， which means that human’s action is actually obeying the hints of the God. This translation can better help readers understand why the poet put “God is overhead” here, which reflects the culture and religion of the western country, but in version one and two, such relationship is not so clear. All in all, the three versions have their own advantages and disadvantages, which are decided by the translators’ choice of expressions and their understanding of the poetry.

In the seventh paragraph, “Lives of great men ……on the sands of time”, as for this sentence’s translation, version one goes that”伟大的人物的生平.我们也能使我们的一生变得高尚，在离开人间时，也能让足印……身后的时间的沙滩上” ；version two goes that“伟人的生平向我们指出：我们能使此生超群脱俗——一朝逝去，时间的沙滩上将留下脚印行行”；version three goes that“伟人之不朽，可为典示，倾我之所能，亦足至此，反肉身凡胎，终有一死，然我将留痕，流光之坻”；Similarly，the former two versions are more readable and easy to understand. However, the third version is far more beautiful and elegant, according to the principle that poetry translation is different from the daily conversation, and the expressions need to be elegant and beautiful. By enjoying the third translation, readers can fully and satisfactorily obtain the beauty and poet’s philosophic theory included in the poetry.

In the eighth paragraph, “Footprints that perhaps another… Seeing, shall take heart again.” Version one goes that“呵，足印！也许另一位弟兄，当他航行在生命庄严的海洋上，不幸遇难，看见了这些足印，他就会使勇气增长”；version two goes that“ 在庄严的生活之海航行，也许有兄弟会遭遇不幸，会因为航船沉没而绝望——但见那脚印，又变得顽强”； version three goes that “ 望生命之海，风急浪蚀，念天行无常，苦难游子，而前人足迹，必将明示，纵满盘皆输，壮志不失” These three translation versions have different effects upon readers. Version one did not translate the “shipwrecked” directly as “航船沉没“， but rather translated it as “不幸遇难”，which is actually more concise than version two”遭遇不幸，会因为航船沉没而绝望“. The three versions successfully achieve the effect of metaphor and translated it into”生命之海”,which can make the meaning of the original text more clear and vivid. Besides, the version three adds some special Chinese expressions such as “满盘皆输”“壮志不失”“苦难游子”“天行无常”， which are easy to understand for Chinese readers, however, it is not so easy for the other language speaking readers, so it is better to add some annotation in order to smooth the understanding.

In the ninth paragraph, the poet summarize and sublime the theme of the poetry with “Still achieving, still pursuing, learn to labour and to wait.” Version one goes that”永远要有所作为，不断追求，学会劳动，也学会等待和期望。”；version two goes that“不断去收获，不断去追求；永远在学着苦干和等候。”；version three goes that “独精我所行，逐我所适，且耕且守望，丰收之时”. In version one, the word “labour” is translated as “劳动”,which is not so appropriate exactly. Version two translated it as“苦干”，and this is better because it is corresponding to the theme of this poetry——keeping acting in the living present. Version three, however, translated it into”耕“，which has the cultural meaning for readers. In China, “耕”means labour, and it is easy to understand.

4.conclusion

Poetry translation appreciation and criticism, just like poetry translation, it needs various principles to support it. Before one can make the poetry translation appreciation and criticism, it is necessary for him to know what is poetry and what are the principles of poetry translation. Various translators put forward different poetry writing and translating principles, which are also helpful for critics to appreciate the poetry translation. The three versions of translation of A Psalm of Life successfully convey the meaning of the whole poetry to some extent, however, different versions have some differences in some detailed sentences because of the different cultural background and translation strategies they choose. However, there is no doubt that the three versions are good versions of translation, and they greatly help readers understand the original text better. In the process of appreciation and criticism, people can also learn how to translate poetry better, and this is a mutually profitable process. In the area of poetry translation appreciation and criticism, much more efforts are needed to deplore some other important ways of appreciation.

邹岳丽：A comparative study of different Chinese versions of I am a cat from the perspective of Newmark's translation theory

纽马克翻译理论视角下《我是猫》的不同中译本比较研究 邹岳丽 Zou Yueli Hunan Normal University, China Aesth_App_EN_2

邱婷婷：On Xu Yuanchong’s poetry translation from the theory of “Three Beauties” -- Taking Three Hundred Tang Poems as an example

Aesth_App_EN_3

吴映红：A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics

Aesth_App_EN_4

吴映红 Wu Yinghong,Hunan Normal University,China

Abstract

Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.

Key words

Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation

题目

从翻译美学的角度对《雪国》的审美再现进行比较研究

摘要

《雪国》作为川端康成的代表作，以其简练独特的语言、细腻的笔触和深刻的艺术构思为特点。雪国》包含了大量的日本民族文化和日本传统的审美意识，也包含了丰富的审美信息和较高的审美价值，其中译本一直备受翻译界关注。当代翻译美学在厘清主客体属性和关系的基础上，探索翻译中审美表现的类型、手段和标准，以指导翻译实践。在以往的研究中，很多文献都证明了翻译美学在汉英和其他语言中的指导作用，但对汉日翻译的研究却很少。

1.1Background of the study

Kawabata Yasunari's "Snow Country" is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of "Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of "Snow Country," which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.

1.2Purpose and significance of the study

Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by "Snow Country" will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.

Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.

1.3Prior Research

Kawabata Yasunari's "Snow Country" is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of "Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of "Snow Country," which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.

1.4Research Methodology

Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).

2.1Aesthetic origins of translation

Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.

]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of "Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.

2.2Definition of Aesthetics of Translation

In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.

Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern

2.3Aesthetic Theory of Translation

In aesthetics, the "aesthetic subject" refers to the aesthetic person, while the "aesthetic body" refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.

According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as "emotion", "knowledge", "o" and "will". The so-called "emotion" refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. "Knowledge" refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and "knowledge" determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. "Talent" refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The "will" refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. "Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.

Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.

3.1Yasunari Kawabata and The Land of Snow

Based on traditional Japanese literature, Yasunari Kawabata advocates the creative technique of "mourning". The term "mourning" refers to a literary term proposed by the Japanese master of Chinese literature, Jiyichō, in which "mourning" means that the author, after looking at an object, triggers a feeling in the mind by exploring the deeper connotation of the object, and brings out a thought that is moved by the heart and a feeling of empathy. The idea of "mourning" is a deeper connotation of things that the author explores in order to trigger a feeling in the mind, which is moved by the heart and the feeling of empathy. Since the idea of "mourning" is a part of Japanese culture and Japanese aesthetics, translators should grasp the expression of "mourning" in the process of translation and make the readers feel the same way.

Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a "celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine "No Generation," and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach. The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an "Eastern-style" nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the "New Sensation Movement", which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once "tried to deny it and exclude it. " However, in his middle age, Kawabata found that he "had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world.

Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: "As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash." "The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death." The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. "This idea of emptiness of Yasunari Kawabata, who "expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction", is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that "the bodhisattva is a person who is not a person. According to Zen Buddhism, "There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust." This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. Based on the comprehensive study of various Western translation theories since ancient times, the British translation theorist Newmark proposed the theory of semantic translation and communicative translation, and paid attention to the adaptation of text types to translation methods, which is quite instructive for translation practice. Semantic translation focuses on the linguistic structure of the original text, requiring the translation to be as close as possible to the linguistic expression of the original text; communicative translation, on the other hand, focuses on the reading habits of readers, requiring the translation of the original text into a natural and fluent language that is easy to understand and conforms to the norms of the society in which the translation is made, with the sentence or paragraph as the basic unit of translation. 例1:「私妊娠していると思ってたのよ。ふふ、今考えるとおかしくって、ふふふ。」と、含み笑いしながら、くっと身をすくめると、両の握り拳で島村の襟を子供みたいに掴んだ。 叶译:“那时我还以为怀孕了呢。嘻嘻, 现在想起来多可笑啊。嘻嘻嘻嘻。”她嫣然一笑, 突然把身子蜷缩起来, 像孩子似的用两只手攥住岛村的衣领。 高译:“我还以为是怀了孕呢。嘻嘻, 现在想起来真好笑, 嘻嘻。”她抿着嘴笑, 突然蜷起身子, 像孩子似的, 两手抓住岛村的衣领。 韩译:“我以为我怀了孕啦。呵呵, 现在想起来觉得可笑, 呵呵呵。”她面含笑容使劲把身子一缩, 用两只紧握的手, 象孩子般抓住了岛村的衣领。 林译:“我想我有身孕了。嘿嘿, 现在想来有些奇怪, 嘿嘿嘿。”驹子若无其事地说道。一边微微含笑, 一边蜷起身子像孩子似的抓住岛村的衣领。 "くっと" is a mimetic word that can mean either a snickering look or a sudden bending look. The main description here is the action of the colt suddenly curling up his body. For this word, both Ye and Gao take the semantic translation method faithful to the original text and translate the meaning of the word "suddenly bent" in the context, which is consistent with the original Japanese language. The Korean and Lin translations, on the other hand, give more prominence to the action of "curling up" and consider that translating the word "くっと" as it is would overlap semantically with the word "身をすくめる" that follows, so they handle the word flexibly: the Korean translation replaces the phrase "suddenly curling up" with "making a strong effort to curl up". The Korean translation replaces the word "suddenly curled up" with "hunched up", while the Lin translation simply omits the word and says "curled up". These translations are precisely communicative translations adapted to Chinese expression habits.

Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.

3.2The aesthetic value of The Land of Snow

Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace. Although the storyline of "Snow Country" is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas. In "Snow Country", the author portrays the feelings of Koma and Ye, and does not spare any ink in characterization. The whole novel is dominated by the emotional thought of the redemption of Komako and Yoko's hearts. Komako is a very persistent and stubborn person, who loves Shimamura without asking for anything in return, even though she knows that her relationship with Shimamura is fruitless. The simple view of love and selfless sacrifice in "Snow Country" is also an expression of the author's concept of love. Gyoko is a prop-like character designed in the novel, and his image in the novel is rather abstract and unclear, and Komako is a village geisha for him, and there is no love between them. In fact, Komako's passionate pursuit of Shimamura saves Shimamura's vain and flashy life, but in the midst of Komako's constant desires, Shimamura comes to Yoko's side. Her appearance is beautiful, so beautiful that Shimamura stops in his tracks, her voice and smile seem to be like a fairy from far away, cool and pure, in sharp contrast to Komako. Shimamura finds spiritual release in Yoko, and Yoko eventually dies in the fire due to the death of Gyoko. When Komako holds Yoko's body and cries, seeing her own sin, the redemption of both of them is completed, and the novel comes to an end. Kawabata Yasunari uses a lot of ink to portray the characters, which is the main point of the novel, and these classic female figures are like fleeting flowers, blooming passionately but briefly.

Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.

Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.

3.3The Chinese translation of The Land of Snow

Yasunari Kawa's masterpiece "Snow Country" has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries. In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example. When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel. "The train came out of the long tunnel into the snow country. The earth lay white under the night sky." Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation. The subject "THE TRAIN" appears in the first sentence of the English translation, but there is no subject corresponding to "TRAIN" in the Japanese original. In the first sentence of the English translation, the subject "the train" appears. In the original Japanese work, there is no subject corresponding to "TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be "the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as "went through" and "entered", but instead, the first and second sentences are set as "When it exited, it was ......". In the original story, there are no such expressions as "skillfully" and "entered," but instead, the preamble and postamble are set to "exited and ......." In essence, "exited and ......" and "exited and ......" are completely different narratives, and represent completely different cognitive systems.

Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.

In the process of development, language is gradually given a certain profound connotation due to political, economic and cultural factors, so it is clear that some words with cultural overtones assume an important cultural heritage and cannot be ignored, especially in literature, where culture plays an important role. Many literary works have a certain brand of the times, but many words gradually blurred or even disappeared with the development of society, so it is not enough to rely on dictionaries to solve the translation difficulties. Only with strong bilingual ability and extensive cultural knowledge can we translate smoothly. 例1:昨夜帰ったら、お湯が沸いてないの。お勝手をごそごそやって、朝の味噌汁の残りを掛けて、梅干で食べたのよ。冷たあい、冷たあい。 译文:昨晚回来, 没烧热水。在厨房叽哩哐当地摸了半天, 用早餐剩下的黄酱汤泡了一碗饭, 就着咸梅吃。凉飕飕的。 In Japanese vocabulary, "onomatopoeic words" are more common, which is related to the Japanese way of expression. In contrast, there are fewer pictographs in Chinese vocabulary. In addition, Japanese onomatopoeia often combines sound and meaning, and the simulated sound can express the senses and evoke the emotions, which makes translation difficult to a certain extent. The translation of the passage in "Snow Country", which has a strong sense of image, is difficult because of the mimetic word "Gosho". Ye Weiqu translates it as "Kirikou", and comparing with other translations, we find that Gao Huiqin avoids translating this word. In fact, the word "ごそごそ" is explained in the "Dictionary of Chinese Language" as "かわいたもの、こわばったものなどが荒く触れ合う音、また、そのような音を立てて动作するさまを表す語", which means The word "ごそごそ" means both sound and action, and Ye Weiqu's translation is the best. The word "叽里哐当" exists in Chinese, and is often used to refer to the messy sound produced by many objects colliding with each other. It is clear from the sound that the reason for the sound is to find something, making the picture of the colt tossing and turning in the kitchen in the middle of the night more three-dimensional, and it can be said that Ye Weiqu's grasp of the word is really refined

Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.

4.Conclusion

Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country" is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice. The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works. Yasunari Kawabata's Snow Country was translated into the Western world by Seldenstieg, who was well versed in Japanese culture, and eventually won the Nobel Prize for Literature. Kawabata's literary works are not good at developing characters and plots logically, but prefer the beauty of ambiguous "material mourning", jumping and poetic descriptions. The surface meaning of his novels, the cultural connotation behind the words, and the symbolic meaning of various descriptions require multiple interpretations. Mo Yan, who won the Nobel Prize for Literature in 2012, is one of the Chinese writers who have been deeply influenced by Kawabata Yasunari. Kawabata's death in 1972, four years after he won the Nobel Prize, without leaving any last words, has left too many mysteries, but Snow Country alone is enough to establish his immortal position in the history of world literature.

5.References

[1]Yasunari Kawabata 川端康成.『雪国』Snow Country.岩波書店Iwanami Bookstore.1952年.

[2]Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957.

[3]Man Pingxiu南屏秀.中国川端康成研究史—以比较文学角度为中心A History of Kawabata Yasunari Studies in China-Centered on Comparative Literature Perspectives.[D].西安外国语大学Xi'an International Studies University,2013.

[4]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of "Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.

[5]Han Siyuan韩思远.文学翻译中人物形象与语境对比研究——以《雪国》为例A Study of Characterization and Contextual Contrast in Literary Translation--The Snow Country as an Example[J].语文建设Language Construction,2016(36):82-83.

[6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.

[7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.

[8]Shi Xiaolu时晓璐. 日汉翻译视角下的翻译规范与翻译方略Translation Standards and Translation Strategies in the Perspective of Japanese-Chinese Translation[D].沈阳师范大学Shenyang Normal University,2016.

[9]Lin Zhang林璋.翻译、翻译研究与语言对比研究Translation, Translation Studies and Comparative Language Studies[J].汉日语言对比研究论丛Comparative Studies of Chinese and Japanese Languages Series,2015(02):74-83.

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