.Introduction1.1ResearchbackgroundZhuZiqingisoneofthemostoutstandingessayistssincetheMayFourthMovement.Hiswordsaresincere,simpleandtouching,showingthetangibleachievementsofthe"literaryrevolution".CongCongisaclassicalandargumentativeessaywrittenbyZhuZiqing,inwhichZhuZiqingdescribesthelossoftransienttime,expresseshismournfulfeelingofthepassingtime,andtellspeopletocherishtimeandlife.Itisanessaywithbeautifulwords,profoundimageandsincerefeelings.Thefulltextconsistsoffiveparagraphswithmanyparallelsentencesandreduplicatedwords,simplebutflexible,powerfulandappealing.Amongthem,thevividmetaphor,thestrongrhythmaretheverybrilliantfeatures.Duetoitscharacteristics,theessayrequirestranslatorstofocusontheaestheticbeauty,notonlyconveyingthemeaningofthecontent,butalsoshowingthebeautyoftheformandstyle.CongCongisregardedasaclassicalmodernprose.Asanimportantliterarygenre,essayispopularwithawiderangeofreaders.Withalonghistory,Chineseessayshavemanyfamousclassicarticleswhicharestillwidespread.AftertheMay4thMovement,undertheinfluenceofNewCultureMovement,alotofwritersbegantowritewithvernacularChinese,andessaysformandwritingmaterialsinvolvemoreflexibilityandfreedom.Inthosedays,alotofexcellentwriterssprangup,describinglifeandexpressingemotionsthroughwritingessays,andagreatmanymasterpiecesappeared.ThesearetheChineseliterarytreasureswhichbearthespiritandcultureoftheChinesenation.WiththedeepeningofexchangesbetweencountriesaswellasthegrowinginfluenceofChinesecultureintheworld,thetranslationstudiesonmodernChineseessayshavedrawnmoreandmoreattention.Intermsofthetranslationfield,manyscholarshaveadopteddifferentresearchmethodstocarryouttheresearchesfromdifferentaspectsandfruitfulresearchresultsareobtained.TheintroductionofThree-beautyPrincipleandArtisticFlavorTheoryprovideanewmethodtodoprosetranslation.ArtisticflavorreproductionservesasabetterstandardforChineseprosetranslation.Onthebasisoftranslationaesthetics,thestylerepresentationoforiginaltextcomestoabetterchapter.1.2PurposeandsignificanceofthisresearchChineseprosebearsdeepculturalandemotionalconnotations.Therefore,thetranslationoftheseChinesessaysisanimportantwaytospreadtraditionalChineseculture.However,duringtheprocessofinterculturalcommunication,wehavegreatdifficultiesinthetranslationduetothehugedifferencesbetweenChineseandEnglish.Oncethereisamistakeintranslation,itcouldcausethetargetlanguagetoloseculturalandemotionalcolorofthesourcelanguage.SoitisimpossibleforreadersofEnglishtranslationtoappreciatethebeautyinsound,beautyinformandbeautyinsenseofmodernChineseessays.Therefore,thisstudyhastwocrucialpurposes:Firstly,thisstudyaimstounderstandtheapplicationofThree-BeautyPrincipleinessaytranslationandoffernewideasandnewvision,thatis,theviewofaesthetics,forthestudyofEnglishtranslationofproseespeciallythoseinChineseessayssinceXuYuanchong'sThree-BeautyPrincipleisputforwardforpoetrytranslation.Secondly,throughthestudy,theauthorhopestodiscussabettertranslationstandardtopromoteabettertranslationforproseespeciallyinChineseprose.Inotherwords,artisticflavorreproductionisanadvocatedsuggestionofferedtofurtherprosetranslation.BasedonthecomparativeanalysisofCongCong,thefollowingsignificancecanbedrawninthisstudy.Firstly,throughthesystematicstudyofcomparativeversionsforCongCongfromtheperspectiveofThree-BeautyPrincipleandArtisticFlavorTheory,thisstudycanprovideanewperspectiveforthestudiesonEnglishtranslationofChineseessays.Three-BeautyPrincipleiswidelyusedintranslationstudiesofvariousliterarygenres,butsofarmostoftheresearcheshavefocusedonpoetrytranslationbutothergenresarerarelyinvolved,letaloneessays.Onlyfewstudiesmadetheentirecommentonessaytranslation.Basedonrepresentationofaestheticsinprose,itmaygiveahelpfulmethodtoChineseprosetranslation.Secondly,ChineseessaysareveryimportantmediatospreadChineseculture.Itcannotonlyspreadthenationalculturetotheworld,butalsopromoteexchangesbetweenChineseandwesterncultures.Therefore,thestudyinChineseprosetranslationandconveyingbeautifulthoughtsaswellasartisticflavorinChineseproseisincreasinglyvitalforChina.1.3Structureofthisthesis Thisthesisconsistsoffourparts.Partoneprovidesanintroductiontothisresearchincludingtheresearchbackground,thesignificanceandlayoutofthisthesis.Parttwoistheliteraturereview.Itintroducestranslationaestheticsandthepertinentintroductionofthestandardofprosetranslation.ThepreviousstudiesonChineseprosetranslationandproseCongCongarealsoincludedinthispart.Partthreeisthemainbodyofthisthesis.Itconsistsofcomparativestudiesbasedonthecriterionofartisticflavorreproductionandcomparativeanalysisfromtheviewoftranslationaesthetics.Partfourisaconclusionofthisthesis,pointingoutthemajorfindingsandlimitationsofthisresearchaswellassomesuggestionsforfuturestudies.2.LiteratureReview2.1PreviousstudiesontranslationaestheticsTheconceptoftranslationaestheticswasintroducedbyShirlevChewandAlistairSteadin1999.ItfirstappearedinChinainPracticaltranslationaesthetics(1991)writtenbyFuZhongxuan.Asanindependentdiscipline,translationaestheticsisstillyoung（曾文雄，2006：44-48）.Thetaskoftranslationaestheticsistoapplythebasicprinciplesofaestheticsandmodernlinguistics,toclarifytherelationshipbetweenaestheticsubjectsandaestheticobjects,tomakepeopleunderstandthestandardsofaesthetics,andtosolvetheproblemsencounteredintheprocessoflinguistictransference（柳曉輝，2010）.Thesystemoftranslationaestheticsgenerallyincludesthefollowingthings.First,theartisticcharacteroftranslationisanimportantmanifestationofaesthetics.OnlywhentheEnglishversionsarecombinedwithartcantheaestheticperceptionbeproduced.Second,theestablishmentoftranslatedaestheticsneedstofocusonlanguageforms.Theuseoflanguageisthemostdirectoutputofthetranslation.Tomakethetranslationaesthetic,language,wording,rhetoric,articlestructure,andlawareextremelyimportant.Third,inliterarytranslation,theartisticimitationoftheoriginaltextandthenecessityofartisticcreationofthetranslationarealsonecessary.Inourcountry'sthoughtsontranslation,"YanFu'sfaithfulness,expressivenessandelegance",LinYuTang's"AestheticTheory",andXuYuanchong's"ThreeAesthetics"allreflecttheaestheticthoughttoacertainextent.Mr.LiuYuQing'stranslationaestheticscontainsthreeimportantterms:aestheticobject,aestheticsubjectandaestheticreproduction（卿堯，2016：117-118）.Aestheticobject(AO)referstoasubstancewithanaestheticvalueinaestheticactivities.Translationaestheticobject(TAO),asthenameimplies,referstotheaestheticobjectoftranslationactivitiesthatsatisfiespeople'saestheticneeds,namelytheoriginaltext.Theaestheticcompositionoftranslationaestheticobjectsisdividedintoformalsystemsandinformalsystems.Formalsystemreferstotheformalcharacteristicsoflanguage,whichistheaestheticvaluethatcanbeintuitivelyperceivedbyhumanbeings.Aesthetictheorydefinesitasanaturalattributethatcontainstheexternalfeaturesofanaestheticobject.Thesystematicaestheticcompositionoflanguagecanbeexpressedfromalllevelsoflanguage,namelyspeech,vocabulary,syntaxandsoon.Intangiblesystemsareimmaterialandabstractintermsofthematerialandperceptualpropertiesoftheformalsystem.Theinformalsystemisvagueandgenerallycontainsfourelements:"love","ambition","meaning",and"image"（劉宓慶，2005：141,168）."Emotion"and"Zhi"usuallyrefertotheauthor'sthoughtsandfeelings.TheAestheticSubject(AS)referstothepersonwhoconductsaestheticactivitiesontheaestheticobject,sotheaestheticsubjectofthetranslationissimplythetranslator.Theaestheticsubjecthastwoattributes:first,subjecttotheaestheticobject;second,theaestheticsubjecthasahighdegreeofinitiative,creativity,andtheaestheticpotentialoftheaestheticobjectishighlyactivatedandmotivated.Theaestheticreproductionoftranslationmeansthatthetranslatorexpresseshisownunderstandingoftheoriginaltextinanotherlanguage.Aestheticreproductionisthelaststepinthetranslationactivity.Therefore,itisespeciallyimportantforthetranslatortoinjecttheaestheticvalueoftheoriginaltextintothetranslation（張囷，2016：26-28）.2.2ThereviewofXuYuanchong'sThree-BeautyPrincipleXuYuanchong'sThree-BeautyPrincipleisanaestheticexplorationofpoetrytranslation.ItistheontologyandthecoreofMr.Xu'stranslationtheories.ItisregardedasthecriteriafortranslationofclassicalChinesepoetry.TheproposalofThree-BeautyPrinciplehasgreatinfluencesintranslationfield.ThetranslatorXuYuanchongregardedtranslationasanart.The“excellentwords"intranslationisthewordswiththemeaningofbeautyinsense,beautyinsoundandbeautyinform,thatis,Three-BeautyPrinciplewhichisbasedonthreesimilarities:meaning,soundandshape（許淵沖，1984：52,52,55-57,55-58）.Sensebeautyisbasedonthemeaningthatistoconveythecontentoftheoriginaltextwhichcannotbemisinterpreted,omittedormultiplied;soundbeautyisthepronunciationofthetranslation,whichmeanschoosingtherhymeoftheoriginalsound.Additionally,youcanusethemethodofdoublesound,rhyme,repetitionandothermethodstoexpressthesoundbeautyoftheoriginaltext;formbeautycanalsobeshaped,atleasttobegenerallyneat.ThecontentofThree-BeautyPrincipleinvolvesthreeaspects,namely,beautyinsense,beautyinsoundandbeautyinform.Beautyinsense,soundandformhascloserelationshipwitheachotherbuttheyhavedifferentimportance.InTheArtofTranslation,XuYuanchongsays,amongThree-BeautyPrinciple,beautyinsenseisthemostcrucialandshouldbeaprimeconcern.Thefirstprincipleofpoetrytranslationistoretainthebeautyinsenseofthesourcetexttothegreatestdegree(XuYuanchong,1992).Thesecondprincipleofpoetrytranslationistoretainthemusicalityofthesourcetext.Themusicalitycanbeachievedthroughrhyme,rhythm,alliteration,assonance,etc.(XuYuanchong,1992)Thethirdprincipleofpoetrytranslationistoretainthebeautyofstructureofthesourcetext.Theformcanbeachievedthroughlinelength,versepattern,repetition,parallelstructure(XuYuanchong,1992).Everythinghastwosides.SomeresearchersconfirmthatThree-BeautyPrincipleismeaningfultopoetrytranslation,atthesametime,pointoutthattheinherentdifferencesbetweenEnglishandChineseformtherestrictionofthetheory,andadvocatetheoreticalinheritanceandflexibleuseofthetheory.ChenGuojian(2008)believesthattheThree-BeautyPrinciplehaspositivesignificancetotranslators,butthestandardofThree-BeautyPrincipleisdifficulttoachieve（陳國堅，2008：20-24）.Inadditiontotheapproval,therearealsosomeobjections.WilliamsreckonedthatXuYuanchongonlyfocusesonrhymingandsomesoundeffectsoftranslationarealmostcomical,whichcannotgivepeopleaestheticenjoyment(Williams,2001).ZhuMinghai(2008)pointsoutthattheThree-BeautyPrinciplecanbeusedasthestandardforaesthetictranslationcriticism(朱明海，2008).PanJing(2013)discussestheconnotationofThree-BeautyPrincipleendmakesananalysisofconcretecasesinthetranslationprojectofjewelryandjadeexhibitintroduction（潘靜，2013）.CaiTing(2015)makesuseofThree-BeautyPrincipletoanalyzehowthethreeaspectsofbeautyintranslationhelpthereproductionofemotionsofcharacters（蔡婷，2015）.WangLili(2016)analyzesthedifferentcharacteristicsandtheoveralleffectintermsofbeautyinsense,beautyinsoundandbeautyinformthroughcomparingtwoChineseversionsofShelleyslyricpoems（王麗麗，2016）.LiuYingkai(1982)raiseshisobjectionstobeautyinformandbeautyinsoundofXuYuanchong'sThree-BeautyPrincipleandmakesadetaileddemonstration（劉英凱，82：59-72）.ProfessorXuJunofNanjingUniversityquestionsaboutXuYuanchong’stranslationtheories,especiallyThree-BeautyPrincipleandhethinksthatXu'svariousmethodsofsublimationarenotfixedandarenotreallyeasytomaster（許鈞，1996：44-47）.2.3ThestandardofprosetranslationThedebateabouttranslationstandardshasbeenaroundforalongtime.Inancientandmoderntimes,numerousscholarswrotebooksandputforwardtheirownideas.Amongthem,thefamousonesareMaJianzhong's"GoodTranslation",andYanFu's"faithfulness,expressivenessandelegance"andNida's“FunctionalEquivalence"andsoon.However,thestandardsforprosetranslationarerare,ortheyarenotcomprehensiveandsystematic.Forinstance,itissaidthatthebestprosetranslationisfaithfultothetranslator'spersonalstyle.ThereisalsoQianZhongshu'sone-dimensionalmodelof"huajing":"thehigheststandardofliterarytranslationis“transformation”.AlthoughthegreatesttranslatorLiuShicongdidnotsystematicallyproposethestandardforprosetranslation,hisessay"artisticflavor"findseverythingfreshandnew.Liubelievesthattranslationistorepresenttheartisticflavorofthesourcetext.Theartisticflavor,especiallytheflavorofprose,isanabstractconceptthatcanbeembodiedinthreeaspects:soundandrhythm,artisticconceptionandatmosphere,andpersonalizeddiscourse.Agoodtranslationshouldatleastbe“conveyingthoughts",thatis,faithfullyexpresstheoriginalmeaning.However,itisnotdifficulttofindthatover-emphasizingtheoriginalauthor'spersonalizeddiscourseisabsolutelyunfairtothetranslator.Translationisalsoakindofre-creationtoacertainextent,sothetranslator'spersonalstyleshouldalsobeincludedinthetranslationstandard.Insummary,thetranslationstandardofprosecanbebasedonthe"conveyingthoughts"toreproducethesoundandrhythmoftheoriginal,reproducetheoriginalartisticflavorandatmosphereandreflectthetranslator'spersonalstyleinthetranslation.2.4PreviousstudiesonprosetranslationandproseCongCong TherearemanyexcellentessayistsinChina,andtherearealsomanyexcellentproseworks.Scholarsathomeandabroadhavestudiedthetranslationofprose.Forexample,QianZhongshu'delivering',LuXun's'Three-Beauty',FuLei's'spiritlikeness'.Inaddition,laterscholarsalsostudiedprose.Forinstance,ZhuYigehasanalyzedproseform,contentandstylefromtheperspectiveofaestheticsin2003.In2007,YangYaminexploredthetranslatabilityofChinesemodernprosestyle.Itissaidthatthegoodprosemustexpressauthor’sownindividualemotionandthoughts,inotherwords,proseaimstoexpressemotion.However,ChineseprosehasrarelybeentranslatedintoEnglishversions.Infact,therearemanypeopledevotingtheirowntoprosetranslation.But,fewpeoplestudyprosetranslationinasystematicway.Atthesametime,theappearanceofaestheticshasprovidedanewperspectivewayforliterarytranslation.Translationaestheticsisthecombinationofthestudyoftranslationandaesthetics.Theexplorationofdisparityandcommonground,fromtheperspectivesoflanguage,societyandculture,betweenChineseandthewesterncanenablethegoaltranslationtorepresentprimaryspiritandaestheticvalueoftheoriginaltextandtobeacceptedbyreaders.ButitisnotyetdeepenoughonthestudyofprosetranslationforChinesetranslators.Forinstance,sofar,therearequitefewstudiesonprosetranslationbasedonaestheticstranslation.AmongChinesescholarsinthisfield,Mr.LiuShiCong,whoexpoundedonthe“Artisticflavor”theoryandMr.Gaojian,whoputforward“LanguageCharacterTheory”and“ThetranslatabilityofStyle”,standoutforthecomprehensivenessandintensivenessoftheirachievements.Nowadays,thethoughtofaestheticprincipleandartisticflavorreproductioncan’tbecombinedbetterandnaturallytooptimizetheexpressionoforiginaltexts.3.ComparisonofTwoTranslationsonCongCongThispartisthemainbodyofthisthesis,comprisedofthecomparisonstudiesforbothtranslationsofZhuChunshenandZhangPeijiforproseCongCongbasedonthecriterionofstylereproductionandcomparisonofthetwoversionsfromtheviewofaestheticsbasedonstylereproduction.3.1ComparisonstudiesbasedonthecriterionofreproductionWhenitcomestothetranslationofprose,weshouldfirstclarifythecharacteristicsofprose,thatis,"dividedandnotscattered."ThegreatessayistZhuZiqing'smasterpiece"CongCong"isnoexception.Onlybyintegratingtheshapecanwereproducetherealthoughtandstyle.Shapeistheexternalizationofthoughtandstyle.Thesameartisticflavoristheultimategoaloftranslation.TeacherLiuShicongputforwardtheprose"artisticflavor"theory,whichcanbeusedasthestandardforthereconstructionoftheprosetranslation“artisticflavor”onthebasisof"faith".Thispartoffersthedetailanalysisandcomparisonfromthreeaspects,thatistoreappearthesoundandrhythmoftheoriginal，reproducetheartisticconceptionoftheoriginalandreflecttranslator'suniquepersonalstyle.3.1.1ReappearthesoundandrhythmoftheoriginalEveryliterarywork,whetheritisanovel,aproseorapoem,isthewritingwhichisinpaperandisthevoicewhichisread.Theauthorconveyshisintentionsbydepictionofscenery,emotionexpression,narrative,argumentation,orcreativeimage.Atthesametime,theaestheticvalueoftheworkpassesthroughthelanguageofsoundandrhythm.（劉士聰，2002）Thisismostprominentintraditionalpoetry,butthegeneralproselanguageisnotametricalprose,anditssoundandrhythmshouldbereflectedinthewording.ThesoundandrhythmofCongCongismainlyreflectedintherhetoricofparallelism,reduplicatedwordsandrepetitionandsoon.1)ComparisononparallelismInCongCong,theauthorseemstobelookingfortracesoftime.Thetimegoesbyinalightandcasualmanner,andtheauthorseemstofollowsuit.Italsoechoestheemotions.Therhythmofthewholeproseisbrisk.Inordertofacilitatetheflowoftimeandtherhythmofemotions,theauthorusesaseriesofparallelismtohighlightastrongsenseofrhythm.Exampleone:燕子去了，有再來的時候；楊柳枯了，有再青的時候；桃花謝了，有再開的時候。Zhu’sversion:Swallowsmayhavegone,butthereisatimeofreturn;willowtreesmayhavediedback,butthereisatimeofregreening;peachblossomsmayhavefallen,buttheywillbloomagain.Zhang‘sversion:Ifswallowsgoaway,theywillcomebackagain.Ifwillowswither,theywillturngreenagain.Ifpeachblossomsfade,theywillfloweragain.Afewfaintstrokes,simpleparallelism,outlineabrightpicture.Ofcourse,bothtranslationsretaintheparallelismpatternandreproducetherhythmbeautyoftheoriginaltext.Onthebasisofsimplicity,Zhang’sversionisbetterthanZhu’s.Zhangusessimpleverbstobettershowthemovementandinstantfeelingofthetimefliesintheoriginaltext.Whenitcomestocoherenceandcohesion,Zhu’sseemstobemoreskillful.Zhangusesthreeshortsentencessidebyside,sorhythmseemstobeinterrupted.However,Zhutranslatedwithasemicolontoconnectthreesub-sentences,whichis"Don'tbreakthewire."Inaddition,bothtranslationsproperlygraspthecharacteristicsthatChineseemphasizesparataxis,usingimplicitcoherencewiththewordordertorepresentthelogicalrelationshipandEnglishhighlightshypotaxiswiththeuseofexplicitcohesionandalargenumberofconjunctiveword.Comparingthetwotranslations,eachhasitsownmerits.However,Zhang’sseemstobeslightly“unfaithful".Inthetranslation,theconditionalsentenceledbyIfisrelatedtothecauseandeffect.But,theoriginaltextofCongCongdidnotseeobviouscausality;secondly,theseconditionalsentences,thelogicalrelationshipisnotstrong,contrarytothelawsofnature.Isittruethattheswallowsflybackfortheirflyingaway?Itiseasytomisunderstand.Exampletwo:于是——洗手的時候，日子從水盆里過去；吃飯的時候，日子從飯碗里過去；默默時，便從凝然的雙眼前過去。Zhu'sversion:Thus-thedayflowsawaythroughthesinkwhenIwashmyhands,wearsoffinthebowlwhenIeatmymeal,andpassesawaybeforemyday-dreaminggazeasIreflectinsilence.Zhang'sversion:ThusthedayflowsawaythroughthesinkwhenIwashmyhands;vanishesinthericebowlwhenIhavemymeal;passesawayquietlybeforethefixedgazeofmyeyeswhenIamlostinreverie.Thesamesentencepatternisarrangedinparallel,inastreamlinedshape,comparingtotheflowoftime.Withinthedynamic,theauthorimpliedawispofdisappointedfeelings.Thescene,movingandstill,spreadsoutrapidly,asifwecanseetheflowoftimeandtheauthor’sfeelingwithourowneyes.Theshortsentencesarelightandfluid,thesyntacticstructureissimple,andthesentencesaresmoothandbrisk.Coupledwiththecadenceoftheword,theauthorseemstobecommandinganimposingconcert,magnificentbutmild,lookinglikeacontradictionbutnotaviolationinreality.Bothtranslationsfittheoriginalformandartisticconception,andthesubject"theday"leadthreesmallclauses,morecoherentandfluid.Althoughtheyhavedifferentunderstandingsforthethirdsub-sentence,bothofthemexpressthefeelingoftimeflow.Whentranslated“默默”and“凝然”,Zhangexpressedthevacancyandindifference,whileZhushowedthesilentreflectionandgaze. 2)ComparisononreduplicatedwordsThereduplicatedwordistheuniquecharmofChinese.Itisnotonlyneatandformal,butalsorichincontent,givingthelanguageasenseofrhythm.Theuseofreduplicatedwords,suchas“斜斜”“輕輕悄悄”“茫茫然”“匆匆”“伶伶俐俐”enablesyoutohavearealaudio-visualfeatasifyoucanseetherushoftimeanditsslipping.InEnglish,infact,thereisnoreduplicatedword.Buttherearealliterationandrhyme,havingthesameeffectofreduplicatedwords.Examplethree:太陽他有腳啊，輕輕悄悄地挪移了……Zhu’sversion:Thesunhasfeet,look;heistreadingon,lightlyandfurtively…Zhang’sversion:Thesunhasfeettoo,edgingawaysoftlyandstealthily…Zhangputsalotofeffortintotheuseofalliterationandrhyme,butZhuusesavividword“l(fā)ook”putsthewholesentenceinadifferentlight.Formypart,Zhu’sversionisbetterthanZhanginthissentenceowingtothefactthatZhuuses“l(fā)ook”showsthatsunmovedunconsciouslyandhighlightstheauthor’sastonishmentandpity,whichisthesamestyleastheoriginaltext.Examplefour:只有徘徊罷了，只有匆匆罷了……Zhu’sversion:Nothingbuttohesitate,torush…Zhang’sversion:WhatcanIdobutwaverandwander...Atfirstglance,“waver”and“wander”intheZhang’sversionareexcellent.Theuseofrhymeisconsistentwiththeshengmuof"徘徊"(-ai)and"匆匆",whichcorrespondappropriately,withasenseofrhythm.Butwithalittlethought,youcanfindthelackofmeaningintheZhang’stranslationofthesentence.“Waver”and“Wander”bothmeanwanderingwithoutanymeaningofhurry.ButZhu’stranslationisnotfaithfulenough.Alliterationiscertainlygood,butyoumustnotaskfor"text"tolose"quality",andputthecartbeforethehorse.Ofcourse,itisalsobelievedthatZhangusesalliterationandendrhyme,whichloseatsunriseandgainatsunset.Zhang’sversionisbetterforthispart,whichemployssensebeautytorebuildaninterestingflavorastheoriginaltext. 3)ComparisononrepetitionRepetitionisalsoacommonrhetoricaltechniqueusedinprosetomaintainthesenseofrhythmandmusiccharacteristics.Theso-calledrepetitionis“sayitovertimes”,asifitisnotenoughtofullyexpresssufficientemotions.Inthisway,theauthorrepeatedlyexpressedthefeelingsofsadness,butalsoletthearticlewithrhythm.Examplefive:我留著些什么痕跡呢？我何曾留著像游絲樣的痕跡呢？Zhu’sversion:WhattraceshaveIleftbehindme?HaveIeverleftbehindanygossamertracesatall?Zhang’sversion:WhattraceshaveIleftbehind?No,nothing,notevengossamer-liketraces. Twosentencesintheoriginaltextarethesamemeaning.Accordingtothechangeinsentencepatternandnumberofwords,wecanfindthatitisatypicalfigureofspeechcalledrepetition.Inthisrepeatedremark,thefeelingsgraduallypiledup,theintensityadvancesinlayers,andtheunevenanduniformformshighlighttheuniformcontent.Zhu’sversionperfectlyconformstotheoriginalshapeoftext,whichisarepetitionrepresentation.Althoughtheformisunequal,thesecondquestionischangedandthethreenegativewordsareusedtogether,thetonestrengthened,enablingthesentencemorepowerful.WhileZhang’sversionusesarhetoricalquestionbutitdoesn’tconveyasenseofurgency. 3.1.2Reproducetheartisticconceptionoftheoriginal Generallyspeaking,“theartisticconceptionandatmosphereofliteraryworksarecreatedbytheauthor'sspiritualtemperament,ideologicalsentiment,aestheticinterestandtheimagecreatedbyhim/her,whichconstitutesthecoreoftheaestheticvalueofthework.”ThearticleCongCongexpressestheauthor'sdistressedmoodcausedbythepassageoftime,mainlyintheapplicationofwordsactionwords,shortwordsandinterrogativesentences(rhetoricalquestion).1)MagicalshortwordsandsentencesExamplesix:Therearefivetimesthat“匆匆”appearsinsourcetext.ThefollowingisthecomparisonoftheminbothtranslationsofZhuChunshenandZhangPeiji.Zhu’sversion:rush,hasteZhang’sversion:transientdays,transition,fleetingpresence,liveatransientlife,fleetingdays. Zhutriestouseshortsyllabicwordstoshowtherapidflowoftimeandreflectafeelingofhurry.However,thisinevitablyrepeatstheuseofwords,makingthetranslationtediousandlackingliterarytalents.ItisalsoabigtabooforChinese-Englishtranslation.WhileZhangusesaplentyofsynonymstoreflectthehelplessnessoflifelikethedew,fleeting,butitisnotalwaysgoodjustlike“rush”,whichisvividanddexterous.Justlookingatthetran