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3.2.2 Expressional Techniques of Artistic Conception
This part states three expressional techniques of artistic conception.
3.2.2.1 Association and Imagination
There is no poetry without imagination and association. The readers master the artistic conception of poetry by grasping the described scene and atmosphere, especially using association and imagination. We have to imagine the concrete, vivid and visual pictures which are expressional by exquisite language. These scenes are the reflection of the poet’s careful observation, experienced imagination and emotion release to reality.
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Let’s take the poem of Long Longing as an example. In the poem, the sentence “Flow to the old ferry of Guachow, The hills in Wu bow in sorrow.” (“流到瓜洲古渡头，吴山点点愁。”) And “My grieving seems to grow, My longing seems to grow, Grow until comes back my yokefellow, We lean on the rail in moonglow.” (“思悠悠，恨悠悠，恨到归时方始休，月明人倚楼。”), It is full of imagination and association. Where is the ends of the two rivers? Is it Guazhou? Does the Wu Hill have sorrow? We have no idea. Is there someone leans on the rail and misses her husband? It is unknown. How were these sentences created by the poet? The answer is association and imagination. By this means, the poet associated the end of the two rivers is Guazhou and imagined the Wu Hill has emotion. He described the picture of the woman as if he saw the true scene.
3.2.2.2 Self-experience
Any kind of feeling of human is from their lives. The poets created their poems by using the daily materials in their lives.
Bai Juyi, the poet of Long Longing, lived in the Tang Dynasty. So the set of the poem was chaos caused by war. People hated the war and long for reuniting with their relatives and lovers. The ruling class at that time was punk. The poet was upright and care about sufferings of people. From the above, we know that the whole poem was created on history, the author’s experience and so on.
3.2.3.3 Reflection of the Poet’s Thought and Feeling
The world of poetry is the world of thought and feeling. Poets always release their thought and feeling in their creation. So we have to grasp these two elements of the poets. Here we need to know the basic modes of combination of feeling and scenery in CCP. They are feeling expression while seeing the scenery, direct expression, feeling bailment to scenery and bringing out the best to each other between feeling and scenery.
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When people translate Long Longing, they should get a general idea of the poet, that is to say the author’s thought and feeling. We can get these from the poet. The thought of the poet Bai Juyi is the integration of Confucianism and Taoism. Doing things is in accord with the directing thought of Confucianism that giving a hand to people of the nation when you get rich and being good to people even when you are poor. The ideal of his “helping the others” is on the basis of humanity of the Confucianism and the thought of Lao zi and Han Feizi. The thought of solitude is from Zhuang Zi. The Chinese expression is indirect, but the English Version seems more direct. We have to create the artistic conception of poetry according to the poet’s emotion.
Generally speaking, these are the representative methods of creating artistic conception. As long as we grasp the techniques of the creation of artistic conception, it is easy for us to study the reasons of untranslatability of artistic conception in CCP. After comprehending of artistic conception, we need to get the general knowledge of untranslatability to extend our topic.
3.2.3 Definition of Untranslatability
The Longman Dictionary says: “it is impossible for the translators to find the exact equivalents for some certain language phenomena, such as the internal beauty, mental conception, thinking methods, inner feeling, different culture, and so on. We can not convey all the elements the same as the source of the text, the aim of the primary author. Therefore here comes the issue of untranslatability.”(许海峰，20xx：1582). After the general grasp of untranslatability, we’d analyze what causes it.
3.3 Causes of Untranslatabilty of Artistic Conception
This thesis intends to analyze the causes for untranslatability of artistic conception we mentioned above. They are association and imagination, life experience and poets’ thought and feeling,.
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3.3.1 Untranslatability Due to Different Spirit and Thought Pattern
Spirit, as one aspect of culture, refers to what people think, including the patterns of thought, values, worldviews, aesthetic sentiments etc. It also includes the products of people’s thinking, such as philosophy, literature, history; paintings, sculptures and so on. And custom and system culture means the ways of life and social organization. These two belong to the category to ideology and always filter into each other, so it’s hard for people to distinguish them sometime and there is usually no sharp borderline between them.
Thought pattern, or pattern of thought, means the usual way in which people tend to use in their thinking. It is formed under the influence of its culture. People of different cultures have different characteristics in terms of thought pattern although they have a lot in common. Even different people think in their own particular way, and the differences between thought patterns may be much greater among people from different culture. For example, people who speak English think that there is direct links between thoughts and ideas and the real world. So they attach great importance to reason and logic and they believe if they follow the correct steps of logic, they can find truth. They tend to think in an analytical way. Chinese people, however, tend to think in a synthetic way.
The difference can also be reflected in language. Chinese thought pattern thinks much of the integration, figurativity and suggestibility of language while western cultures think much of the analyticity, logic and structuralization of the language.
The way of thought and spirit always has differences between each other. Philosophical beauty of spirit is always an obvious point of brightness. For example, Picking Chrysanthemum written by Tao Yuanming, it reflects the philosophy that inaction of Lao Zi. In Wang Wei’s Poems, it always reflects being not sought fame and wealth, cultivation and so on. Architectural beauty of thought is also revealed in CCP. For example, when we read some love poetry, maybe we imagine some places just like pavilions, but when people in other nations read these poems, they maybe imagine Gothic buildings or other places. You can imagine the vague frames of the buildings when you read these poems. They can be grand or pastel and so on.
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By comparing the Chinese and English version of the poem Long Longing, we mentioned in the second part that in the different versions there are some ways of different thoughts. It has something to do with what mentioned in the following.
Aesthetic judgments in Chinese old ideology all originate from traditional aesthetics. Traditional aesthetics also originate from traditional Confucian aesthetics and syncretize with the thought of Lao Zi, Zhuang Zi, metaphysics, Buddhism and zen during its development. It has developed a system of aesthetics which differs from that of west. The core of Taoist philosophy is “harmoniousness”—people give the way to nature and introject into it. Zhuang Zi’s theory of that “all creatures grow up with me together and all of they and I can amalgamate as one thing provide a philosophical premise for the aesthetics of artistic conception which is “substances and people coexist”, “the subject and object incorporate”. The content of the thought of “advancement and retreat, syncretization between nature and human” is different from that of Taoism. It pays more attention to the experience in nature. In the meantime, it cares about the harmonious relationship between human and nature. From Qing and Han Dynasty, the thought of Confucian, Taoism were planted in Chinese cultural genes. It is used in creation of poetry widely. Just like some people said: “the form of Chinese wits is not only an ability of thinking or rational pattern, but also a witty pattern of thinking which can be called artistic mental structure.” The main part of the artistic mental structure includes artistic conception. It influences the field of our CCP. Although the influences of traditional philosophy have already been declined, as an injection of culture with several thousand years, the thought of Chinese is unavoidably influenced by these two thoughts of philosophy. They have injected to heads and lives of our Chinese, and will pass on endlessly.
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