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As a matter of fact, though “sublimation” in translation field has enjoyed a high reputation, it is rather a hard level to attain in the practice of translation. Nevertheless, the famous work Selected Modern Chinese Essays by Zhang Peiji, in which there exist quite a lot of good examples in represent of the aesthetic value of Chinese prose, provides us with much reference and enlightenment in prose translation both theoretically and practically.
2. Literature Review
2.1 Definition of “Sublimitation”
In 1964, Qian Zhongshu put forward in his renowned book named Lin Shu’s translation that the highest standard of literary translation is “sublimitation”. (Qian Zhongshu, 1981:5) In translating literary works from one language into another, neither does the translation betray any farfetched traces due to the differences in language custom, nor does it wash away any savor of the original text. Only in this way can the translation be claimed to attain the “sublimitation”. This theory, since raised, has caused much concern from the public in past decades. Qian Zhongshu himself thinks that the “sublimitation” involves at least four levels of meanings.
First and foremost, it should contain both a transform of the external form on one hand and a reserve of content, ideology and style inside on the other.
Secondly, translation should stick to “expressiveness”; that is to say, translation should keep itself consistent with the grammar rules of the target language. In spite of changes in the form, translators should do their best to avoid betraying any traces as farfetched due to the differences of custom in languages. Just as Fu Lei once said “the ideal translation is almost like the Chinese writing of the original writer”, and “that is because the works in the target text never read like something translated”. (Liu Weiwei, 2013:177)
Thirdly, translation is expected to be faithful to the source text in aspects of content, thought and style. Therefore, in the process of changing works in the form, the translator has to “follow his own bent without overstepping the line”. That is to say, in literary translation, a translator’s creativity does not mean an arbitrary one but a creativity in the range of the source text.
Finally, to achieve a thorough and complete “sublimitation”, as is known to all, is an area beyond reach. “Sublimitation” is a rather flexible concept involving several respects of variation. When a translator makes some necessary changes, he or she can still be said to attain the superb “sublimitation”. It is due to such a huge discrepancy between the languages that even those great masters of language like Qian Zhongshu would not pursue an absolute “sublimitation”.
In a word, “sublimitation” requires that the translation, on the basis of faithfulness to the savor of the source text, bridge the gap and remove the misunderstanding between two languages to the greatest unification, which is approximately a combination of the faithfulness, expressiveness and elegance but actually a transcendence over the hedge to a brand new ground.
2.2 Major Features of Prose源]自=751-·论~文"网·www.751com.cn/
2.2.1 Authenticity
Prose writing, with its documentary nature, should keep authentic in choosing of subjects and materials. Therefore, prose writers can never set out to compose with their pens until they’ve taken a journey, done large quantities of researches and accumulated much material, figuring out the specific event, site and characters.
Authenticity requires that the feeling and stories in prose should be a reflection of the truth or the reality. For instance, Zhu Ziqing in his renowned prose work “The Sight of Father’s Back”, which is a household piece, recorded the true story that his father strenuously strode over the platform with his corpulent body to buy oranges for him when seeing him off at the railway station. It described in great detail the real situation, vividly sketching out the image of a father as well as the deep love between the father and son. Therefore, it is easy to draw the conclusion that “The Sight of Father’s Back” is a typical essay reflecting authenticity and that is where prose differs from novel and drama.