1. IntroductionBa Jin is an outstanding writer. He also is an excellent translator in Chinese literature history. His vision of The Happy Prince sell well in China in the past several decades. He has a sense of aesthetics in translation. The version translated by Ba Jin perfectly reflects his aesthetic thought. The version has simple wording, vivid image and fresh style. In recent years, more and more scholars have begun to focus on the translation of Ba Jin’s The Happy Prince . The thesis focuses on exploring Ba Jin’s version--The Happy Prince from strategies and features in translation.Through this study, it is found that translator should not omit the core of the origin text during the translation, on the contrary, the aesthetic information as its ultimate goal to be taken representative. This thesis will be helpful for those scholars who want a deep understanding about Ba Jin’s aesthetic thoughts on translation and stimulate people ’s interest to the aesthetic translation. By summing up experience and lessons learned in this field, more and better works will be published.2. Translation AestheticsAesthetics is a philosophical branch of inquiry concerned with beauty, art and perception. Translation aesthetics has a long history. There are few points about translation aesthetics. Liu (2004: 45) thinks that “the formal system is constituted by physical, natural properties and external components that directly build up images ” . Mao (2005: 97) discusses few topics about beauty in his book, including the beauty of sounds, the magic words, emotion, and so on . He defines the Translation Aesthetics is the study on aesthetic subject, aesthetic object and the aesthetic activities in Translation Aesthetics, this is the first time that translation aesthetics as the title in his book, he briefly reviewed the development history of Chinese translation aesthetics, concluded that “the basis of theory in traditional Chinese translation theory is aesthetics ”. Translation aesthetic object contains the original work and target work; translation aesthetic subject contains reader and translator; aesthetic activities have many details, including aesthetic judgments, aesthetic appreciation, creative aesthetic representation and so on.Liu (2004: 78) pointed out that “the combination of translation theory and artistic aesthetics is the basic characteristics of Chinese traditional translation theory ” in his book, [1][2] [1]in which he analyzes the aesthetic subject and aesthetic object briefly. Translation is a progress, including comprehension, transformation and improvement.2.1 Aesthetic SubjectNida (1963: 45) said “Translator is the aesthetic subject. A good target text not only has a bearing on the aesthetic constituents of its aesthetic object, but also has a bearing on the aesthetic subject ’s ability. When they are both in the integrating aesthetic relationship, translating, as the progression of aesthetic representation, should be endowed aesthetic effect” . Fu (1993:79) states that there are two aesthetic subjects during translating work--translator and receptor . Translator plays a very important role in translation. Aesthetic subjects refer to those people who can make judgment under the specific condition. Aesthetic subject is called “second reality ” by Tytler (2009: 32) because it is different form reality, and it has two types: translators and readers. Translator is the aesthetic subject of origin works, while reader is the aesthetic subject of the target works. Translators play a crucial role in translation. Translator should understand the works first, and then transform the meaning to target works. Translator is a active part in aesthetic translation. Considering the receptors, Mark (1997: 124) thinks that translator not only transform the main meaning to target work, but also aestheticconsciousness, culture accomplishment and aesthetic experience .Lao Zi (1999: 223) holds translator is the aesthetic subject of target text, he plays a very important role in perceiving, judging and evaluating original text and transforming every detail into target text, the deeper he understands the original text, the higher the quality oftranslation work would be.Liu (2004: 35) thinks that the translator should start translating work from the children ’sangle . So it is indispensable that the translator to master three aesthetic conditions: aesthetic consciousness, culture accomplishment and aesthetic experience .(1) aesthetic consciousnessAesthetic consciousness refers to the perception of aesthetics or a sense of aesthetics, they are from translator ’s instinct. In children ’s world, everything is so quite and simple, everyone is so friendly, their thoughts are very different from adults ’. If children think the world is imbalance after reading a book, the book is not a good one.(2) culture accomplishment[3][4] [5] [6] [7] [1]A good translator should have original language knowledge, target language knowledge and other related professional knowledge. As a translator of children ’s literature, the necessary knowledge is to know characteristics at different ages. If the translator apply children ’s language for adult, it should be very ridiculous to read such a translated work.(3) aesthetic experienceAs a translator, he must have enough vocabulary as well as syntactic resources, and he can use them flexibly in different situations. During translating works, translators should master translation methods, which will be helpful to make him acquire his aesthetic experience. For translators, aesthetic experience is quite important, especially in the translation of children ’s literature.Reader can be divided into two types-- adult and children. As readers, they are quite different. Adults have their own aesthetic standards. During reading works, they won’t accept the information from target works. Because they are capable of judging, evaluating and appreciating what they read. Also they can comprehend the knowledge that they have never heard, Their experience and relevant knowledge offer translators convenience to translate target works. While children are quite different from adults, children like literature which describe truth, beauty, honesty and kindness. They think that it is full of peace and love in the world around them. Children are curious, they will pay all their attention to new scene or environment, no matter it is bad or good.2.2 Aesthetic ObjectAccording to Liu’s (2004: 35) opinion, aesthetic object refers to source text [1]. Itsaesthetic values should be founded upon its aesthetic constituents. There are two categories, one is aesthetic superstratum elements, which refers to the features of the form of a language such as the characteristics of its phonology, lexicon and syntax. It is called the beauty of form in aesthetics, such as image, style of source text. It could be perceived directly. The other constituent is non-superstratum. There is no direct relationship between it and linguistic form. E (1978)has quite different idea from Liu (2004), he thinks that aesthetic object includessource text and target text. As real reflection of the reality, aesthetic object is called “third reality ”by Zhi (2006). Aesthetic objects can cater to people ’s aesthetic needs. Liu (2004) divided aesthetic objects into two terms: form system and non-form system. [8] [9] [1]Form system has two salient features. Firstly, it relates to susceptible feelings. Secondly, that form is a complicated conception.According to Liu’s opinion(2005),the non-form aesthetic constituents can be divided[1]into four scopes:sentiments,ideals, images and symbols .3. Ba Jin’s Aesthetic Thoughts in TranslationAs we all know, Ba Jin’s works are the solid foundation in Chinese literature,as a famous novelist in literary world, he has abundant aesthetic thoughts on translation. He provides lots of works for us. But few scholars pay attention to his aesthetic thought. He is famous for his novel in the modern literature world. Literature world pays more attention to his works at the beginning of his creation. But the study on his aesthetic thought in his novel has not been given sufficient attention. It is necessary to explore and summarize Ba Jin’s aesthetic thought. Ba Jin’s translation benefits from his extensive knowledge.Through the translation practic on children’s literature, Ba Jin acquires a lot precious experience, also he has a childlike heart, which makes children bound up in his works. All these experiences make him to become a first-class translator,and to achieve a great success in translation.3.1 Ba Jin’s Career as TranslatorBa Jin is a writer, also is a productive translator. All people know him as the writer's identity, but few people know his identity as a translator. He had built numerous characters. What he does in translation and writing pushes him to be an outstanding scholar. Many foreigners seek advice form him constantly. Ba Jin’s aesthetic thought in translation in the process of his translation work come from his accomplishment in Chinese language and English language,his rich experience and writing talent,his unassumingness and perseverance,etc...Generally speaking, all of these qualities play a crucial role in the comprehension and replication of aesthetics in The Happy Prince.Ba Jin has the idea of translating The Happy Prince few decades age, but he just didn’t dare to start. He decides to start the translation work in middle March of 1942. In the rest time of 1942, Ba Jin finished a portion of translation, three short stories--The Selfish Giant, The Happy Prince and The Nightingale and the Rose. After that moment, he was disappointed to his own translation, so he lost confidence suddenly. The more worse thing happened during the war in 1944, his handwriting were burned after he put them back to the bookrack. Ba Jin didn’t give up, he started again in 1946, two years later, he ultimately finished the translating.Thinking back, we can notice that the new start is good for the translation, because he became more mature in choosing words and dealing with the different cultures than the first time, also he had a deep understanding to the source work during such a long time. Ba Jin is worthy of our respect，no matter as a writer or translator.3.2 Ba Jin’s Aesthetic Translation ThoughtsThere is no standard for the definition of children’s literature,it has its own characteristics. Firstly, the details in children’s literature are dramatic and easy to understand, story lines are beneficial for promotion of the children’s interests, wit and taste.Secondly, children’s literature has an education function. Its language is meaningful,simple stories illustrate the profound truth. Thirdly, children are the target receiptor of children’s literature, so the language should be full of childlike innocence.In this way, can the works win the favor of children,to attract more readers.Children’s literature is quite different from adult literature.The former needs more special attention. Through years study in translation and language,Ba Jin has his own untouchable thoughts on translation.3.2.1 Ba Jin’s Language Features in TranslationWhen people talk about Ba Jin’s translation, they always concern with literal translation. Ba Jin shows children’s world on different levels.Firstly of all,Ba Jin’s language is very simple and colloquial. Children’s literature has become a hot topic in recent years. More and more translators and writers have realized that receiptors preferred to hear the sound of words and phrases. To meet the needs of children for rhythm and sounds,writers and translators try to make the language of their works sound nice, vivid and smooth. Ba Jin’s works are well-known, because some works written or translated by him are looked as stories. His wording is simple and easy to understand,readers,especially young readers feel familiar to the language,also it is benefit to understand other narration.Secondly,the most foregrounded during Ba Jin’s translation is the sound beauty. In children’s language,musical sound and noticeable characteristics are indispensable. We can find that there are so many interjection, exclamation and onomatopoeia in the conversation. Some writers and translators regard it as trivial or useless details, in fact, these elements are very important for translation. They are helpful to make the conversation more lively andinteresting, attracting more young readers. Ba Jin’s translation sets a good example in this respect.Lastly, Ba Jin focuses on the literal translation. He won’t omit every source language point. The target readers are European, so we can find Europeanized sentences in his works. These structures cause difficulties in understanding for children, however, as we all know, the readers and receiptors are not only the children, but also adults,it sounds reasonable.3.2.2 Ba Jin’s Aesthetic Attitude in TranslationThe aesthetic attitude is defined as the attitude to the aesthetic objects. It is influenced by many factors. One of the most factors is the inner desire and interest, it always exists in our minds.During the translation, the translators may extend the emotion or express his own sentiment if he love the original writer or this work, also he may take a quite initiative in the process of translation. Just as the excellent translator Roman(1959: 93) said, there are two standards to judge whether a translator is befitting to translate a original work. The first is wether the translator has interest in the source work, or the translator enjoys the source work;[10]The second standard is whether the translator has eyes to find every artistic element.Ba Jin says, he just chose those works which cater for his emotion or taste. His first translating is Signal,he has a great enthusiasm for this book, and his own sensibilities in it.Sometimes Ba Jin not totally goes along with the original authors, but every work is excellent in his eyes. He wants to open his heart to the readers through his own works and translation. Initially, Ba Jin was just trying to translate, while after he finished, he would be quite excited and very appreciate his own achievements.Wilde’s fairytales have few Significant features, such as beautiful and integrated style, the poetic language and the musical tone. Ba Jin was interested in them. He praised Wilde from the bottom of his heart. Wilde is a writer famous for his childlike language and his beautiful works, and he has his own characteristic style and rhetoric. Ba Jin said that he learned how to be a straight shooter after translating work.This positive aesthetic attitude to ensure Ba Jin's insistence, even in a bad situation he can modify his manuscripts and finish the translating.Ba Jin and Wilde hold a similar idea on the importance of the form, they both think thatform has a major influence on the literary.Ba Jin thinks that inferior should serve content, and he firmly believe that translators and writers in China never stop seeking for a form which can express their ideas freely. Wilde often regards form as the start point for the creation of works, the next one is ideas and then devotion. The form should be suitable for conveying original writer’s emotion incisively and vividly, attract more receiptors, and enhance the reader’s sense of aesthetics.A literature work can have many translators and countless readers. Every translator expresses his own aesthetic thoughts in his translating through his unique method. Each of them does their utmost to be faithful to the source work, but it cannot stop permeating the embodiment of personal judgment on aesthetics in translation. Ba Jin has his own principle in translation is that he tries his best to be faithful to the source work.Aa Jin focuses on the creative power during the translation.He has always insisted on the tone and style, this is the reason why so many people love Ba Jin’s visions.4. Ba Jin’s Aesthetic Translation in The Happy PrincePart three provides a brief introduction to Ba Jin as a translator, and his unique aesthetic thoughts in translation. In this part it is requisite to analyze Ba Jin’s achievement in translating works. Ba Jin translated version The Happy Prince is very popular in a period of time. Therefore,this study takes Ba Jin’s vision of The Happy Prince as an example to explore the aesthetics in the source work, to explore Ba Jin’s concrete manifestation of aesthetic elements in his vision,and how he takes aesthetic enjoyment to target readers.In fact, the key point of translation work is to make the target text to the maximum extent similar with the original text in aesthetics. No translator can produce a perfect text.If an imperfect to be a consummate one by translating,it is regarded as a palimpsest,not translation. In Yan’s opinion (1998: 167), aesthetic thoughts can be embodied in many ways, such as the Nationalization issues of the beauty of form; the filiation between national cultures and the beauty of form; the relation between form and content; how to make the aesthetic ideality to[11]be specific things .Before explore the aesthetic thoughts in translation, it is helpful to analyze the aesthetic features in The Happy Prince. For clarity,this thesis probe into the aesthetic thoughts in Ba Jin’s vision from three aspects: poetic language,image and style, these aspects are interdependent to each other in an organic whole and even overlap in some cases.4.1 Representation of the Poetic Language of The Happy PrinceIn literary art, scholars always regard language as the vehicle. Readers are attracted by literary language firstly when read writings. If the art cannot attract reader’s attention with best story and original concept, it indicates that there is no good nguage is like outerwear of writings, it contains words, phrases, sentence, paragraphs and discourses. There are many details in the process of expressing aesthetic thoughts and showing the original images, such as grammar,sentence structure and logic and so on.Beauty of language is determined by many aspects, including the choosing of words, sentence patterns and other linguistic expressions. A complete translation starts from original text and ends up with target text, so the transfer process of aesthetic thoughts is also from the original text to the translation. The external aesthetic elements are regarded as the form of language,the connotative aesthetic elements are content. The content contains not only the meaning,tone and sound,but also lingering charm and mood.4.1.1 Features of Language in The Happy PrinceIn Wilde’s fairytales, the most prominent feature in language is smoothness. In Ba Jin’s vision of The Happy Prince, there is a prominent feature is poetic language, no matter in describing a scene, telling a scenario, or making a dialogue, the language is always vivid and smart.There are five stories in The Happy Prince--The Nightingale and the Rose; The Selfish Giant; The Devoted Friend and The Remarkable Rocket.They are all filled with fantastic imagination and delicate sarcasm with simple colloquial language. All these cater for tastes of children and adults. Ba Jin owns a good language foundation and rich writing and has a very high capacity in comprehending the original text and applying target language.All these advantages have a promoting effect on Ba Jin’s translating work. He transfers the beauty of original text at utmost to the vision of The Happy Prince. The beauty in the original language gets represented in the largest degree in his version of The Happy Prince.4.1.2 Specific Representation of Language in The Happy PrincePeople who read this book will be deeply touched by its story, like The Nightingale and the Rose, this story focuses on the representation of the process in which the nightingale pressed her breast against the thorn all night to make a red rose with her blood for the student she loved.......“Swallow, Swallow, little Swallow,” said the Prince, ‘”will younot stay with me for one night, and be my messenger ? The boy is so thirsty,and the mother so sad” (Oscar Wilde1996:165) .......“燕子，燕子，小燕子，”王子要求说，“你难道不肯陪我过一夜，做一回我的信差么？那个孩子咳得太厉害了，他的母亲太苦恼了”（巴金 2010:202） 。