Iwouldliketotakethisopportunitytoexpressmygratitudetothosewhohelpedmeinmanyways.Withouttheirhelp,thecompletionofthepapercouldnotbepossible.Firstofall,mysincerethanksgotomysupervisorNiuGufang,whichhasbeenagreatprivilegeandjoytostudyunderherguidanceandwithherencouragement.Ithankherforhervaluableandspecificadviceonthesharpeningofmyideas,andforhertoleranceandpatienceincorrectingmydrafts.TheprogressofmineisduetoherencouragementandSecond,IamgratefultoalltheteachersintheSchoolofForeignLanguagesinJinzhongUniversity.Ihavegottoknowmuchfromtheirinstructivecoursesandinsightfulinstructionsinmystudy,whichexpandedmyscopeofknowledge.Finally,I’malsoobligedtomydearfriends,who paniedmeduringtheyears,givingmevaluableencouragement,whichIwillneverforgetinmylife.ATranslationAestheticProbeintotheEnglishVersionofThePeony:ThePeonyPavilion,themostfamousdramaticchuanqioftheeminentplaywrightTangXianzu,isgenerallyconsideredasabrilliantflowerinthehistoryofkunquwithbeautifulandpoeticlanguage,touchingtuneandataleofextremelovethattranscendslifeanddeath.Meanwhile,thetextoftheplayThePeonyPavilionisregardedasthegreatestamongallclassicalChinesedramaticliterature.AsabrilliantgemofclassicalChinesedrama,boththetextandtheperformanceoftheplayappealtopeoplegenerationaftergeneration.Basedontranslationaesthetics,thethesismakesatentativestudyontransferenceofaestheticconstituentsintheEnglishversionofThePeonyPavilionbyWangRongpei.Fromanaesthetic,translationisthetransferenceoftheoriginalaestheticvalue.Asfarasthestudyoftranslationofliteraryworksisconcerned,theirspecialaestheticdeterminethattranslationaestheticsisanessentialapproachtostudytheoriginalbeauty.BecauseofthefactthattheessenceofclassicalChinesedramaticliteratureliesinitsaestheticconstituents,theauthorofthethesisbelievesthatitissignificanttoexploretheliterarytranslation,especiallytheEnglishversionofbeautifullanguageinThePeonyPavilionfromtheoftranslationaesthetics.Tableof in in Tableof I Literature ABriefReviewofTranslation Translation ThetranslationaestheticconstituentsofChinese Aestheticobjectintranslation AestheticconstituentsofChinese Aestheticsubjectinaesthetic TransferenceoftheAestheticConstituentsofChineseOperainTranslationofThePeony TheintroductiontoThePeonyPavilionandits Transferenceofformalaesthetic Transferenceof Transferenceatword Transferenceatsyntacticalandtextual Transferenceofnon-formalaesthetic Transferenceof Transferenceof Transferenceof Transferenceof IThePeonyPavilion,themasterpieceoftheplaywrightTangXianzuintheMingDynastyofChina,isthemostbeautifulandelegantinthegardenofclassicaldramasinChina(Yang,1992:1).OccupyingadominatingplaceinchuanqidramaoftheMingDynasty,themostrepresentativeliteraryformintheDynastyofMing,ThePeonyPavilionhashadtremendousinfluencebothasaliteraryworkforreadingandasanartisticformforperformanceonthestageforthepastoverfourhundredyearssinceitcameoutin1598.Apartfromitssignificanceathome,ThePeonyPavilionoccupiesanunparalleledpositioninworldcultureasthemostbrilliantpearlinthedepositoryofkunqu.OnMay18th,2001,UnitedNationsEducational,ScientificandCulturalOrganization(UNESCO)proclaimedChina’skunquasamasterpieceof“theOralandIntangibleHeritageofHumanity”,whichdemonstratesthatthevalueofclassicalChinesecultureissteadilygaininginternationalrecognitionintheageofglobalization.ThepresentresearchintendstoexplorethetranslationofThePeonyPavilionbyWangRongpeifromtheaesthetic.HowtograspthemainaestheticvaluesofThePeonyPavilionandachievethefullrepresentationoftheminthetargetlanguageisthemainfocusofthispaper.Inaddition,thetranslatorandreader,beingtheactiverolesintheprocessoftranslation,willalsoenterourpresentstudy.Thisthesisconsistsofthreechaptersbesidesanintroductionandaconclusion.Followingtheintroduction,researchesaboutthetheoriesoftranslationaestheticsbothathomeandabroadandstudiesofthetranslationofThePeonyPavilionwillbegiveninThebriefreviewofaestheticsandtraditionaltranslationtheoriesrelatedtoaestheticswillbegiven,andmajorsoftranslationaestheticsandtheaestheticconstituentsChineseoperaalsowillbeintroduced.ThenChapterFourwillinvestigatehowtogetrepresentationoftheaestheticqualitiesintothetargetlanguagebythecaseysisofWangRongpei’sEnglishversionofThePeonyPavilion.Byconductingtheresearch,theauthorofthethesisexpectsthattheversionofWangRongpeiwillattractmoreattentiontothestudyofEnglishtranslationofThePeonyandthatoftheclassicalChinesedramaticliterature.Inaddition,theauthorhopesthathisstudywillarousemorereaders’intereststodiscoverandappreciatethetextofThePeonyPavilionwhichcanrefreshuslikeagentlebreeze.Hebelievesthatcontemporaryreaders’tastesforclassicalChineseliteraturewhichareofgreatimportancecanbeandshouldbeLiteratureAestheticsisthestudyofbeauty,aneternalthemeofworldliteratureandliteraturebondedtogether.Asaresult,innumerableresearchesabouttranslationaestheticsappearedbothathomeandabroad.IntheWest,manytranslationtheoristsgavetheirthoughtsabouttheartisticaspectsoftranslation.JohnDryden,consideredasthefirstsystematictranslationtheoristintheWest,wasthefirsttorecognizetranslationasanartratherthanaskill.AlexanderFraserTytler,theauthorofEssayonthePrinciplesofTranslation(1790),putouthisthreeprinciplesregardingthetranslationinthisbook.Also,MathewArnoldheldthattranslators’aestheticcognitionoftheoriginaltruthvalueplayedanessentialroleintranslation.Athome,ChinesetraditionaltranslationtheoriesareprofoundlyinfluencedbytheChinesephilosophicalaestheticsandclassicalliteraryaesthetics.TheearlieststatementsconcerningtheartisticaspectoftranslationweremadeduringthetranslationofBuddhistScripturein2ndcentury.ZhiQianandXuanZangwereamongthosegreattranslators.ZhiQianhighlyvaluedthethoughtsofLaoziandadvocatedtheessentialityofbeingfaithfultoeveryaspectoftheoriginalscriptures;whileXuanZangdevelopedhisepoch-makingcriteriathattranslation“mustbetruthfulandinligibletothepopulace”(Cheng,2007:12).Attheturnofthecentury,Furaisedhistranslationprinciplesof“faithfulness,expressivenessandelegance”inoverwhichthedebatecontinuestorageoneventoday.Anothernotionmeritingmentioningattentionis“transmigrationtheory”putforwardbyscholarQianZhongshu,whichobviouslyopenedanewhorizonforChineseliterarytranslationstudies.Intherecentyears,ProfessorXuYuanchong,summarizedhisprinciplesas“threebeauties”(beautyinsense,insoundandinform)(Xu,2003:85).ThefirstbookpublishedparticularlyontranslationaestheticswrittenbyFuZhongxuanin1993,entitledPracticalTranslationAesthetics.Inthisbook,manyaesthetictermssuchasaestheticobject,aestheticsubjectwerementioned.WithregardstothetranslationofChineseopera,plentyofexcellentworkshavebeentranslated.YangXianyiandGladysYangtranslatedtogetherTheEternalPalaceofYouthbyGuanHanqingandTheAnthologyofZajubyGuanHanqing.WangRongpei,ZhouQinandWangHongeditedandtranslatedGemsofKunquOpera.AsthecompletetranslationofThePeonyPaviliontoEnglish,threetranslatorshavededicatedthemselvestothischallengingjob,whoisCyrilBirch,ZhangGuangqianandWangRongpeirespectively.ThisthesiswillfocusallattentiononWangRongpei’sversion.Thecombinationbetweentranslationandaestheticsisaninevitabletendencywiththedevelopmentoftranslationtheories.AndtheapplicationoftranslationaestheticsonthetranslationofChineseoperaprovidesagreatopportunityforthespreadofChineseopera.TheseresearcheseitherontranslationaestheticsoronChineseopera’stranslationspavethewayforfurtherstudy.ABriefReviewofTranslationInthischapter,wewill,firstofall,haveabriefintroductiontoaesthetics.Andthen,somebasicconceptsoftranslationaestheticsandtheaestheticconstituentsofChineseoperawillbepresented.IntheWest,theearlyspeculationsofaestheticswereputforwardbyclassicalphilosophers.Aestheticsisamoderntermandinthemiddleof18thcenturyemergedasanindependentdiscipline,buttheoldesttraceabledescriptionsaboutartandbeautydatefromasfaras6thcenturyB.C.byGreekclassicalphilosopherssuchasPythagoras,Socrates,PlatoandAristotle.Inthemiddleof18thcenturyB.C.,thegreatGermanphilosopherAlexanderGottliebBaumgartencameupwiththeterm“Aesthetik”(AestheticsinEnglish)firstandusedthistermtodesignate“theouter,externalorbodilysenseasopposedtotheinnersenseofconsciousness”(Craig,2000:78)anddefineditasthescienceofsensitiveknowledge.Intheprocessofitsadvancementandprogress,aestheticshasabsorbedachievementsfromotherdisciplineslittlebylittleandformedthreedivergentorientationstowardsaesthetics:philosophicalaesthetics,artisticaestheticsandpsychologicalaesthetics(Wang,1987:3).InChina,theaestheticsisalsocloselyassociatedwithChinesetraditionalphilosophy.InancientChina,philosopherspaidlotsofattentiononbeauty.LaozisaidinScriptureofEthicsthat“beautifulwordsmaynotbefaithful,andfaithfulwordsmaynotbebeautiful”;Confuciusadvocated“supremebeautyandsupremegood”;Menfuciusmaintained“substantialityisbeautiful”;Xunzibelievedthat“being pleteandimpureisinsufficienttobeconsideredasbeauty”andsoonsoforth.Thoughagreatvarietyoftermsrelatedtoaestheticsandliteraturehadcomeintoexistenceinthefollowingdynastiesandperiods,thereisnosuchasubjectcalledaestheticsinancientChina.Asanacademicdiscipline,aestheticswasusheredintoChinafromthebeginningof20thcentury.ThosescholarslikeZhuGuangqian,ZongBaihuaandCaiYi,whohadstudiedaestheticsabroadmadethisstudyaccessibletoChinesereadersbytranslatingtheclassicalworksofaesthetics.Tosomeextent,wecouldsaythatmodernChineseaestheticsbeganwiththetranslationofWesternclassics.Sincethen,therehavebeenagreatnumberofscholarsinvestingtheireffortsinfosteringthisfieldandenrichingthecontentsofaesthetics.Afterabriefunderstandingofthedevelopmentofaestheticsbothathomeandabroad,aballparkdefinitionofaestheticsmayappearinthemind.Whatisaesthetics?Literallyspeaking,aestheticsisthestudyofbeauty(Zhu,1983).InthebookBasicPrinciplesofAesthetics(Liuandetc.,2001),aestheticsisdefinedas“aprinciplewhichstudiesbeautyandthegeneralrulesofpeople’sfeelingandcreationofbeauty”.Fromthedefinition,wecanseethatbeautyisthecoreofaesthetics.Theappreciationandinvestigationofbeautyisanonstoptopicforscholarsaswellasordinarypeople.Aesthetics,therefore,comesintoexistenceandequipspeoplewithbetterstodigintothenatureofbeauty.Inordertohaveathroughknowledgeoftranslationaesthetictheories,itisnecessarytoknowaboutthetranslationaestheticsfirst.Translationaesthetics,tobebrief,iscombinationoftranslationstudieswithaesthetics.ItistostudytranslationwiththeaestheticFangMengzhihasgivenadefinitionoftranslationaesthetics,whichaccordingtoFang,“istorevealtheaestheticsourceoftranslation,toexplorethespecialsignificanceofaestheticsfortranslationandtoprobeintothescientificandartisticnatureoftranslationfromaesthetic.Also,withbasicaestheticprinciples,itputsforwardaestheticstandardsoftranslationsofdifferentgenrestoyze,elaborateandsolvetheaestheticproblemsintheirinter-lingualconversion.Additionally,itysestheaestheticcompositionoftheaestheticobjectandtheactiveroleoftranslatoraswellastheirrelationshipbasedonathroughunderstandingofaestheticobject(thesourcetext)andtheaestheticsubject(translator).Last,itprovidesthetypesandmeansofaestheticreproductionwhichcanguidethetranslationpracticefortranslators.”(Fang,2004:167)Thedefinitionconcludesallaspectsconcerningtranslation:thenature,participants,methodology,criteria,whichareusefulincomprehendingtranslationaesthetics.InChina,thecombinationoftranslationtheorywiththeaestheticsofliteratureandartisoneofthebasicfeaturesofourChinesetraditionaltheory.ItcanbetracedbacktothetranslationofBuddhistscripture1700yearsago.ZhiQianproposedthattranslatorsfollowthesourcetextcloselyandnotrefinethetargetlanguage.Later,Xuanzangputforwardhistranslationprinciple“toconveytruthwithsimplewords”,advocatingthatthetranslatedversionshouldbefaithfultotheoriginalinthecontentandeasytounderstandinlanguage.Heismostlyconcernedwithaestheticflavorinboththeoriginaltextandtargettext.In1896,YanFuestablishedhistranslationprinciple“faithfulness,expressivenessandelegance”.Itisawidelyappreciableaestheticstandardandvalueoftheaestheticandasummarizingdescriptionoftheartisticnatureoftranslationaswell.Lateron,QianZhongshuestablishedthecriteriafortranslationandexpressedhisideaofaestheticthinkingwiththeBuddhistterm“sublimation”.Heusedthistermtoaddresstheideorealmoftranslation,statingthat“thesupremecriteriaofliterarytranslation,is‘sublimation’,bywhichImeantotransferthelanguagetoaworkintoanotherlanguagewithoutbearinganytraceofawkwardnessfarfetchednessintranslationbecauseofthedifferencesoflanguageusage,andatthesametimewithouttheslightestflavoroftheoriginal”(Liu,2005).Inrecentyears,translationaestheticshasdrawntheattentionofagrowingnumberofscholarsandtranslators.In1993,FuZhongxuanpublishedPracticalTranslationAesthetics,inwhichthebasicelementsintranslationaesthetics,i.e.translationaestheticobjects,subjects,activitiesandstandards,etc.arediscussed.Twoyearslater,LiuMiqinggothisbookIntroductiontoTranslationAestheticspublished,consequentlyestablishingtheframeworkformoderntranslationaestheticsandfurthermakingstudiesofaestheticobjectsandaestheticpsychologyandcognitivepatternsofaestheticsubjects.In2005,MaoRongguipublishedhisTranslationAesthetics,inwhichheelaboratedonthesenseoflanguageandsenseofaesthetics,translators’aestheticpsychologyandtheaestheticdisparitybetweenEnglishandChinese.Besidesthesescholars,othertheoristsandtranslatorsalsomaketheircontributionstothecombinationoftranslationandaesthetics,suchasZhangBoran,HuangLong,GeXiaoqin,ZhaoXiumingandetc.Aestheticthoughtsalsoexistedinwesterntranslationtheories.Cicero,theRomanrhetoricianwhoisregardedasthefounderofWesterntranslationtheory,highlyvaluedtherenderingofbeautyoftheoriginaltextintranslationandputoutthat“Ididn’tholditnecessarytorenderwordforword,butIptheoriginalstyleandforceoflanguage”(cf.Robinson,2006:9).AlexanderFraserTytlerputouthisthreeprinciplesregardingthetranslationinhisbookEssayonthePrinciplesoftranslation(1790).Fromhispointofview,thelawsoftranslationshouldfollow“thatthetranslationshouldgiveacompletetranscriptoftheideasoftheoriginalwork”,“thatthestyleandmannerofwritingshouldbeofthesamecharacterwiththatoftheoriginal”and“thatthetranslationshouldhavealltheeaseoftheoriginalcomposition”(Tytler,2007:9).Butafterthe1950s,alinguisticturnappearedinthewesterntheories.Translationstudiesbegantofocusonequivalencebetweenthesourceandtargettexts.Throughoutthedevelopmentofwesterntranslationthoughts,itcanbeseenthatwesterntranslationtheorieshavenothadasclosearelationshipwithaestheticsasChinesetranslationtheories.AnditisnotthemainstreaminthewestfortranslationscholarstostudytranslationfromofThetranslationaestheticconstituentsofChineseFromtheaesthetic,translationisa“bilingualaestheticactivity”(Liu,2006:118),involvingaestheticobject,aestheticsubject,aestheticjudgment,aesthetictransferenceandotheraestheticissues.Beingaspecialaestheticactivity,itproceedsfromtheperceptionandappreciationoftheaestheticobject–thetextstobetranslated.Consequently,inthispart,thetworesearchsoftranslationaesthetics–aestheticobjectandaestheticsubjectwillbeintroduced.Also,thegeneralizedaestheticobjectofthisthesis–Chineseoperaanditsaestheticconstituents,bothformalandnon-formal,aretobepresentedinthispart.AestheticobjectintranslationInaesthetics,theaestheticobjectrefersto“anexpressiveonewhichgoesbeyondwhatispurelyinligibleandcomestoconvergenceinacoalescenceofsensuouselements”(Dufrenne,1973:13).Sincetranslationinvolvestwokindsoflanguages,therearetwoaestheticobjectsintranslation.Theyarethesourcelanguagetextandtargetlanguagetext.Thesourcelanguagetextisthewrittenlanguageofthewriterbasedonhisownfeelingsandknowledgeetc.Andthetargetlanguagetextisthetranslatedversionprocessedbythetranslator.Intranslationaesthetics,itisrequiredthatthetranslatorshouldyzetheaestheticconstituentsofthesourcelanguagetextandtransferthemintoapropertargetlanguage.Andtherehavebeendifferentwaysofclassifyingtheseaestheticconstituents.InthebookPragmaticTranslationAesthetics(1993),FuZhongxuancategorizesthemintwogroups:thebeautyofformandthebeautyofcontent(Fu,1993:1-2).ForLiuMiqing,asstatedinhisbookIntroductiontoTranslationAesthetics(2005),therearetwokindsofconstituents,namelyformalandnon-formalconstituents(Liu,2005:89).TheauthorofthisthesiswouldliketoadopttheclassificationproposedbyLiuMiqing.Theformalconstituentsmentionedaretheactualcompositionofaestheticobject.Whenitcomestothetranslationaestheticobjects–thesourcelanguageandtargetlanguage–theformalconstituentscanrefertotheaudibleandvisibleelementsthatloadaestheticinformation.Andthenon-formalconstituentsaresomething andintangiblewhichlargelydependsupontranslators’perception,cognitionandevenrationality.Itisoneofimportantresourcesofbeauty.Theyareinthelanguage,butlmorethanthelanguageitself.Itintegratesintoawholenamed“意境”inChinese,and“ideorealm”inEnglish.AestheticconstituentsofChineseThefocusofthethesis,namelytheaestheticobjectofthethesis,isEnglishversionofThePeonyPavilionbyWangRongpei.Tohaveadeepunderstandingofit,aboveall,wemusthaveageneralknowledgeofChineseoperaandtheaestheticconstituentsofChineseopera.Therefore,inthispart,theseissueswillbeintroducedcarefullyafteraroughideaoftheaestheticobject.AsdefinedinChineseEncyclopediaofArt(Feng,2004:825),Chineseoperaisacomprehensiveformofart,comprisingliterature,music,artisticdesign,martialarts,acrobaticsandrole-acting.TheartofChineseoperafallsintotwocategories:theartofstageperformanceandtheartofscripts.Inthestage,singing,speaking,actingandmovement,martialartsandacrobaticsarefourfundamentalskillsofactorsandthemaincharmsoftheperformanceart.Inaddition,thecharmofChineseoperaoutpouringfromthescriptsisnolessappealing.Andinthepresentstudy,itisthescriptsonthepageratherthantheperformanceonthestagethatcomeintoourfocus.AfterathoroughunderstandingofChineseopera,nextwewillgettothepoint–theAestheticconstituentsofChineseopera.Asweallknow,literaryworksareloadedwithmanyaestheticqualitiescapableofevokingspiritualresonanceandaestheticappreciationofreaders.Aestheticvalueis“whatevercontributestothe‘beauty’ofapieceofart”and“‘beauty’isthesupremenamerefertothoseconcreteelementsthatcontributetothe aestheticvalue.Theysisoftheseaestheticconstituentsstandsasanessentialprerequisitetotheaccuratedeliverythemintothetargetlanguage.Theninthenextparts,theformalaestheticconstituentsandnon-formalaestheticconstituentsofChineseoperawillbeexemplifiedrespectively.formalaestheticconstituentsofChineseIntranslationaesthetics,theformalaestheticconstituentsmeantheformsordevicesemployedintheliteraryworkwhichcansparkofftheaestheticfeelingonthepartofreaders(Liu,1994:511).Asstatedabove,usuallyitcouldbeaudio-visuallysensedbyourdirectperception.Theseformalaestheticconstituentsformahierarchyofdifferentlevelsandtheyarewhatwewillintroducebrieflyinthispart.First,itistheformalaestheticconstituentsatsoundlevel.Thesoundisthebasiccarrieroftheaestheticinformation,theauditorybeautyofwhichisanessentialelementinthetonalityandsoon.Second,itistheformalaestheticconstituentsatlexicallevel.Atthelexicallevel,thebasicdevicesproducingtheaestheticeffectarecloselyconnectedwithdiction–thechoiceofwords.Itmaybeformalorcolloquial, orconcrete.LiuMiqingonceputforwardhis“ABCPrinciple”–“Appropriateness,BeautyandCompactness”astheaestheticstandardforthediction(Liu,2005:119-120).WithitsapplicationtoChineseopera,thewordingshouldstandinconformitywiththecharacters’presentsituationsandtheirstatus,revealingalitiesandinnerworld.Third,itistheformalaestheticconstituentsatsyntacticalandtextuallevel.Itishighestlevelofformalaestheticconstituentsinthehierarchysystem.Atthislevel,antithesisandparallelsentence,throughthedeliberatejuxtapositionofcontrastingorsimilarwordsorideas,couldachievetheeffectofemphasisandproducetheformalbeautyofbalance.non-formalaestheticconstituentsofChineseAestheticobjectiscomposedofnotonlythoseformalaestheticconstituentsperceiveddirectlybyoursensationbutalsothenon-formalaestheticconstituentsbeyondthesimpleperception.Theformerarepresentedintheexteriorandsubstantialformswhereasthelatterintheinternalcontentwithnon-substantialforms.Thenon-formalaestheticconstituentsaremanifestedbythoseperceivablelinguisticitems.Constitutinganindefinite,non-tativeandinfinitesystemwithfuzzinessasitsessentialcharacteristic,theyareaccordinglygiventhenameof“fuzzysets”or“setsoffuzziness”(Liu,2005:141)InChineseopera,aestheticfuzzinessismainlyexhibitedbygoodnessinimage,ideorealm,emotionandtone.First,itisthegoodnessinimage.Imageiscommonlyunderstoodas“thementalorvisualrepresentationofanobjectoreventasdepictedinthemind,apainting,photograph,orfilm”(Brooker,2003:137).Inliteraryworks,describedbytangiblelanguagephysicallyrealizedbylinguisticexpressions,theimageistostirthereader’simaginationandcanthenbevisualizedwiththementalrepresentationformedinthemind.Aseriesofimagesmayrepresent:microormacro,sensoryor ,allusiveorsymbolic.InChineseopera,thereareindividualimagesaswellasmacroimages–scenes,charactersorevents.Anotherimportantnotion–ideorealm,beingdefinedas“animaginedartisticrealmwherethereadercouldbeconductedintothroughthevividdepictionofbothoutersceneryandinnerfeelings”(Zhaoetal.,1985:639-640),canbeunderstoodastheinfiniteartisticworldthewritercreatesforreaderstoimagineandexperience.Theessenceofideorealmliesintheintegrationofobjectivescenesandsubjectiveemotions.Ideorealmisboundupcloselywithimages.Whenaseriesofimagesaregroupedtogether,alongwiththesubjectivefeelings,theycouldevokeoutacreativeworldinthemindthroughinimagination.Third,itisthegoodnessinemotion.BaiJuyi,thegreatpoetinTangDynasty,heldthat“Emotionisthefirstthingthatstirstheheartsofpeople”(cf.Liu,2005:174).Whereasthepoemsarecomposedfortheexpressionofthepoets’feelings,theChineseoperaareintendedfortheutterancethesentimentswithintheheartsofthecharactersintheplay.InChineseopera,theconveyanceofemotionismainlythroughthedescriptionofouterworldfromthemouthofthecharacter(zhang,2004:14)andoftensuchoutpouringsofemotionsaresetinthecertaineventsorbackground.Thelastoneisthegoodnessintone.Tone,withthedefinitionof“theemotionalcoloringofspeaking”inTheContemporaryChineseDictionary,canbeexpressiveofsomefeeling,meaningorattitude,suchastheserioustone,humoroustone,joculartoneandlecturingtone.SinceChineseisthetonallanguageandtheperceptionofpeople’sthoughtsandintentionsthroughthevariationsoftheirtonesseemsmucheasier.InChineseopera,thoughthespeakingpartsdon’ttakethedominantpositionandonlyconstitutearelativesmallsectionofthewholeplay,theirroleinshathecharactersshouldn’tbeneglected.ThewayspeakandthetonesunderlyingthemonologueordialoguecanbetraytheirspecialtiesoremotionalAestheticsubjectinaestheticAestheticsubjectreferstotheswhocarryoutaestheticactivities(Liu,2005).Intranslationaesthetics,twogroups sconstituteaestheticsubject,namelytranslatorandtheAtranslatorundertakestheresponsibilityofconversingtwolanguagesinanappropriatemannerbyadoptingpropermethods.Heisthekeyelementintranslation.Itisthroughhishandandmindthattheconversionbetweenlanguagesisdoneandthegapbetweenculturesisfilled.His/hersubjectiveattitudeandchoicedirectlyrelatetotheconsequenceoftranslation.Intranslation,he/sheshouldfirstofallbecompetentinbothrightlyunderstandingandusingthetwolanguages.Mostachievedtranslatorsarehighlycompetentintwolanguageshis/hertranslationinvolves,suchasFuLei,QianZhongshuandetc.Thismeanstheyshouldnotonlyacquaintwithlanguages,butmastertheculturesloadedinthelanguage.Intranslationaesthetics,languageskillsarenotadequate.FuZhongxuanoncepointedoutthatthehighertheaestheticcognitionlevelofatranslatorreaches,themorethoroughlywouldhe/sherenderthesourcetextandthehigherthequalityoftargettextwillbe(Fu,1993).What’smore,he/sheshouldhaverichexperienceinbeautydetection,perceivingthoseneglectedbyothersandrevealingthesubtlety.LiuMiqinghaspointedoutthatempathyiscrucialforaestheticappreciationandtranslation.Itisaprocessofforgettingyourselfandindulgingintotheworktotastethevariousflavors.Thereaderofthetranslatedworksisalsooneoftheconsiderationsofatranslator.alongtime,reader’sroleintranslationisignoredbymosttranslatorsaswellastranslationtheorist.Traditionally,itisbelievedthatreadersareatthepassiveacceptationendof