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dult has to create theliterature that is easy for children to accept in their way. Actually, children’s literaturehas its particularity, which demands their literature have the following characteristics:imagination, educational function, readability. So a good translator should not onlydemand her translation having the foregoing characteristics but also need to conform tothe basic principle of literature.Judging from the history of children’s literature, we can divide it into four periods.The first period is from the late Qing dynasty to early Ming dynasty. At this time,many foreign literatures were introduced into China. But most of the translations werefor the purpose of social need, and the new concepts of western countries, spreadingthe political evolution, and fighting against the aggression. Because of these reasons,our translators disregarded the acceptability of children and rendered the English intoclassical Chinese, which made their translation obscure and stiff. The next period is theyear of 1919. People in this time started to value children and children’s literature. Itwelcomed the maturity as well as the new beginning of children’s translation in Mayfourth period. Then, it follows the year of 1950. In this period, children’s literatureswere profoundly and widely influenced by the Soviet-Russian Literature. Since 1978,the fourth period had reached the boom of translating the western children’s literature.From then on, the children’s literature has developed with the times.
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2.2 An Introduction to Zheng Hailing's Harmoniousness Principle
The roots of ‘harmoniousness’ could find its foundation in the Chinese traditionalculture and Chinese aesthetic standard. Zheng Hailing(1999) brings about this conceptinto the translation theory which is based on the sharp contrast between the westernand Chinese culture. As a result, he tries to set a standard called “harmoniousnessprinciple” as a translation standard. From 1988 to 2011, so far as I know, it had been translated by ten different authorsin succession. But there are few researches written paper about this book. Some ofthem were written from the perspective of comparing the different translation versions.Some illustrate the figure of speech about the Daddy-Long-Legs. Some analyze thebeauty of the story itself.According to the studies, it shows that none of them discuss it from the perspectiveof translation techniques. That is why I choose to write this thesis from my translationand discuss it from the techniques aspect under the Zheng Hailing’s harmoniousnessprinciple.
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Chapter 3 An Analysis of Lexical and Syntactical...6
3.1 Lexical Features ........6
3.1.1 Vividness .......7
3.1.2 Terseness .......8
3.1.3 Use of Childlike Language ......9
3.2 Syntactical Features .....10
3.2.1 Tending to Use Rhetorical Devices ......10
3.2.2 Using a Great Many Simple Sentences......11
Chapter 4 Techniques for Translating Daddy-Long-Legs from ........13
4.1 Techniques for Achieving Harmoniousness ....13
4.1.1 Addition .......13
4.1.2 Conversion........14
4.1.3 Omission ......15
4.2 Techniques for Achieving Harmoniousness  ........16
4.2.1 Division .......16
4.2.2 Reversing .....18

Chapter 4 Techniques for Translating Daddy-Long-Legs from the Perspective of Zheng Hailing's Harmoniousness Principle

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