Abstract: Folk language, when it enters literature, assumes literary nature, and folk literature is virtually a combination of literary folk language and folk theme. The glamour in translation of folk literature lies in representation of local cultural environment and uniqueness of its folk language. The paper reviews the shared aesthetic core, namely, revolutionary theme, folk custom and folk language, in three folk novels, Li Youcai Ban Hua, Xin ErNv Ying Xiong Zhuan and Ku Cai Hua, which were published in the 1940s and 1950s. Then it makes an analysis of the effect of representation of the aesthetic appealing of folk language in their English versions at the levels of rhyme, vocabulary, grammar and rhetoric. The authors contend that the glamour of Chinese folk language could be reproduced by means of strategies of imitation and adaptation. Whereas the former refers to source language-oriented imitation, target language-oriented imitation and dynamic imitation, the latter refers to generalization and specification, complemented representation, and translator’s creation, so that the aesthetic schema of folk language representation could be shaped. By conveying the local taste in folk novels and reserving the prints in folk language and marks of national languagein English translation, the Chinese nation’s language and culture could be protected and upheld in the process of outputting Chinese folk literature.

Keywords: folk language; aesthetic core; frame of aesthetics; imitation; adaptation

摘要： 乡土语言进入文学就变成文学方言，文学方言与乡土主题结合构成乡土文学。乡土文学翻译之趣在于重现地域文化环境和乡土语言的独特性。本文从审美视阈分析三部20世纪四五十年代乡土小说《李有才板话》《新儿女英雄传》和《苦菜花》的审美共核，即革命主题、乡土民俗和乡土语言，从语音、词汇、语法和修辞层面探讨其英文译本对乡土语言审美的再现效果，指出乡土语言的英译应通过模仿和变通两种策略，前者包括以原语为依据的模仿、以译语为依据的模仿和动态模仿，后者包括虚实转化、补偿再现和再创造，由此形成乡土语言再现的审美图式，保存乡土语言趣味性，使译文具有民族语言印记，有利于在对外传播中国乡土文学过程中保护和弘扬民族语言文化。

关键词: 乡土语言, 审美共核, 审美视阈, 模仿, 变通