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Long Longing
Waters of Bian flow,
Waters of Si flow,
Flow to the old ferry of Guachow,
The hills in Wu bow in sorrow.
My grieving seems to grow,
My longing seems to grow,
Grow until comes back my yokefellow,
We lean on the rail in moonglow（赵彦春，20xx：95）
Reading the Chinese version, we know that this poem describes a lady misses her lovers, leaning on the rail in moonglow. In the hazy moonglow, the hills and rivers greeting in her eyes are full of sorrow. The first three “flows” describe water sinuous, brewaging lingering charm. The following two “grows” add to sorrow. The whole poem expresses love with recentness, expressing the complicated feeling of characters with smooth and fluent words, harmonious rhythm. Especially that stream of moonglow foils the atmosphere of sorrow, strengthening artistic beauty, revealing the features of that simple words, resourceful meaning, easing understandability and profound significance.
But some of these reflected in the Chinese version can not be conveyed completely in the English version of this poem. A person who read it without any knowledge of its background, especially the reader who was born and grow up in another culture, can he taste all the flavor of the poem? The poem set in the war, because of the war, the lady was parted with his husband for a long time. This poem posts the fact that war brings pasture between relatives or lovers, so all people hope it comes an end. Without this background, the foreign readers can not taste the deep theme of the poem. The two rivers in the poem are Bin Flow and Si Flow. Why the author chooses these two rivers as yearning rivers? This is because these two rivers flow to the ocean without turning around. It also stands for the lingering yearning and sorrow goes without twisting. The old ferry Guachou always implicates a bleak feeling, such as sorrow or lovesick. The lady leans on the attic, missing his husband. In the past, women were not allowed to stay out without any necessity. And in the past, Chinese architecture always have that kind of design with an attic or aisle. All these culture can not be read only in the English version of the poem. In the English version of the poem, the word “bow” of the sentence “The hills in Wu bow in sorrow” is not supposed to be translated to “bow”. In the Chinese version, the poem would like to express sorrow which filters to hearts little by little, deeper and deeper. But in the English version, “bow” is a verb, expressing feeling on the surface. It leads to visual rigidity, idealistic ossification, and aesthetic languishment and so on.
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By comparison, we see that there are something lost in the translation. What are they? We bet to say that they are some abstract minds and emotion such as philosophy, thought, aesthetics and so on, so artistic conception of poetry can not be translated.
3. Untranslatability of Artistic Conception in CCP
The above example shows that artistic conception in CCP is untranslatable. And we know that the artistic conception is the essence of the original, so in this section, we will mainly discuss the artistic conception in details.
3.1 Most Important Element in CCP Translation
Poetry may be seen in terms of various elements working together towards an integral whole. Each element represents only part of the overall design and it is this design that must remain in the main concern. To arbitrarily, isolate the diverse elements is somewhat going against the true spirit of poetry. Regarding Poetry translation as a semantic equivalence, media symbol with the same information, to convey another language is a narrow translation notion. Poetry translation standards are decided by the meaning which is implied and aesthetic value in the intent framework of the poetry, artistic conception of CCP becomes the spirit of Poetry translation. That is to say, Poetry translation relies greatly on the intrinsic quality of itself. In the rendering process, if the original elements of the poetry are changed, the internal beauty may be violated. So translation os artistic conception is a difficult and important issue.
Burton Raffel, an American professor, argues that the aesthetic requirements should be an eternal pursuit in Poetry translation. The last chapter of his book, the Art of Translating Poetry, especially poetry translating, is the art of keeping balance between various requirements. Though many people think that the language requirements are of great significance on the part of the translator, Raffel argues that “the most significance and difficult requirement lies in the aesthetic requirement”. “The translated poem,” he says, “should first the aesthetic requirement, the flavor of life. Although there are a lot of requirements, the aesthetic requirement should be highlightened—this is an eternal pursuit ”. (1990:37)
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Artistic conception is a very general quality in poetry. Well-received poems are invariably “artistic conception” intense; poems, which may scan well are never thought too much of, if they are empty of artistic conception.
From mentioned above, artistic conception in CCP should be regarded as the eternal pursuit and the most important element which should be translated.
3.2 Artistic Conception
Artistic conception as the difficult and important element of poetry, needs the careful analysis to help us deal with its untranslatability.
3.2.1 Definition of Artistic Conception
What is artistic conception? Zong Baihua says: “It regards the embodiment of astro-life as the objective and appreciates its essence, order and harmony. It is the deepest reflection of one’s self. By converting true scenery into virtual scenery and creating image to symbol, the most gracious hearts of human are embodied. This is so called ‘artistic conception’. It mainly depends on beauty.” （1981：89）
Nowadays, people always think that “artistic conception is an artistic bourn of complex between the described objective view and expressional thought and sentiment. It has the aesthetic features of allusion combined with concrete, meaning harmonized with bourn and abstruseness which are able to make readers have imagination and association, facing the true or concrete environment and affected in their hearts.” （Thomas, 1999:2453）Simply speaking, artistic conception is a poetic space created by scenery and affection in the readers’ minds or a comprehensive aesthetic bourn created by combination of objective image and scene. Some artistic conception can only be sensed but can not be conveyed completely by another language.
Having observed the physical appearance or layout of a poem, one gathers much impression from its artistic conception. Artistic conception, in poetry, is closely associated with the tone, the aesthetic feeling and the mood of a poem. Therefore, a great step to correctly translate a poem is to understand the tone of the poem, to sense the obviously or subtly conveyed feelings in the poem.
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Xu Yuanchong defied artistic conception that “it is the synthetic product of life, scenery, thought and feeling. It is also the unification of feeling, substance, meaning and bourn”. (20xx:41)The subjective feeling syncretizes objective substances. The bourn is in the meaning and the meaning is revealed in the bourn. “Artistic conception” is the unification of “meaning”, “feeling”, “philosophy” and “bourn”、“form” and “scenery”. It is also the unification of objective scenery and subjective sentiment.
To sum up, the artistic conception of poetry is the agreement of the poet’s strong feeling and vivid objects. It is the artistic bourn which is not the same as real life but can be trusted. It is the complex of sensation and scenery or the combination of form and spirit which both are created in artistic expression. From the philosophical view, it is regarded as the reflection of thought and exist or the results of subject and object. It is the unification among them. From the aesthetic view, “sensation” in the poetry includes the author’s feeling and philosophy. “Bourn” means the spirit and form of the object. So artistic conception is the harmonious unification of these four elements——sensation, philosophy, form and spirit. Artistic conception is the essence of the CCP. Conveying the right the artistic conception is the point of displaying the spirit of the poetry.
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