On The Aesthetic Representation Of Zheng Zhenduo’s Translation On Tagore’s Poetry

As a world-renowned Indian national poet, Rabindranath Tagore creates many popular poetry. His works are short and simple but full of life philosophy, which always give people comfort and enlighten human with true wisdom. Most of his literature creation have been translated into different languages and go to every corner of the world. In China, his poetry also wins a lot of fans since they were introduced in in the early 20th century. Among several translated editions, Zheng Zhenduo’s version is still of great popularity up to now. Poetry is a special literature genre which shares almost all kinds of aesthetics aspects. Therefore, during the process of translation, how to represent the comprehensive aesthetic points of the original text becomes the first priority. Professor Zheng Zhenduo perfectly finishes this task with rich experience and super techniques in translation, which makes his version still one of the best in modern translation history.Chinese Translation Aesthetics absorbs the essence of western Aesthetics and roots itself in traditional Chinese translation theory. Professor Liu Miqing, standing on the shoulders of predecessors, carries out a systematic theory of Translation Aesthetics, which makes elaborations from both Aesthetic Subject (AS) and Aesthetic Object (AO) and regards translation as a process of aesthetic representation. This thesis makes concrete analysis on the materials excerpted from original texts under the framework of Professor Liu’s theory and lay emphasis on the process of aesthetic representation by translator. In the first place, the poet Tagore and translator Zheng Zhenduo are respectively treated as AO and AS. The central idea in this part is how the comprehensive background influences their own aesthetic sensibility. Secondly, the aesthetic aspects in original text are discussed from two directions:the text level and thought value. The core points of text level lies in form and image, while the thoughts are distributed into nature, love, childhood and religious belief which are refined from Tagore’s own life. In the chapter of aesthetic representation, analysis are based on diction, images and culture factors. Besides, the aesthetic strategies adopted by translator are also included.In view of the long-lasting popularity of both original text and translated version in China, many scholars have ever done researches on Tagore’s translated works. However, a certain number are made under the guidance of linguistic theories or simply from the perspective of translation techniques. This thesis tries on Chinese Translation Aesthetics as theoretical framework, which enriches the study on Tagore and Zheng Zhenduo as well as exemplifies the feasibility of Translation Aesthetics, so as to make some help to the subject of translation study.