In well-written English prose, certain virtues are always a premium. These are: “clarity, precision and a logical, coherent flow and organization of ideas” (Cadden 1986:2).

In modern Chinese literature, there are mainly three characteristics for Chinese prose: authenticity in emotion, goodness in words and freedom in form but coherence in sense. Prose-style, the author mentioned in the thesis, therefore, is a style owns the above characteristics of Chinese prose. The style of prose is commonly adopted in Chinese scenic-spot introductions owing to its aesthetic nature. And its “aesthetic qualities” are the most important and difficult problems for translators to surmount. Prose-style introductions complete the task of providing tourists with detailed information about natural wonders, tourist resorts or historical relics, and perform the functions of stimulating the tourists’ interest and fulfilling their aesthetic needs. Language of this category is usually of vividness.

Examples(2):徜徉其间，但见白浪激礁，松林覆坡，红岩鱗_，沙滩如银，景色如诗如画。

Translation: Strolling in the park, you can enjoy a scene full of poetic and artistic conception: waves, rocks, white sands and pines-covered slopes.(中国青岛指南 2002:35)

There is no difficulty to find that such descriptions of the scenic-spot in Chinese are with typical features of a prose. People can use any different styles on different occasions, and can also mix phrases and sentences of other styles when using mainly one style, to add the word color and effect.(方梦之 2002:57) We can see that the translated version of the above example restructures the original text, and uses simple nouns as ‘waves’，“rocks”，“pines-covered slopes” to render the original viable phrases of musicality as “白浪激礁”，“红岩憐“松林覆坡It is shown that different language displays its charms in different ways.

2. 2 The Aesthetic Form of Chinese Scenic-spot Introductions

One of the major purposes of scenic-spot introductory texts is to stimulate tourists’ curiosity and interest to a particular tourist attraction. In order to achieve the purpose, the language applied is often full of beautifulness.

On the whole, Chinese scenic-spot introductions are sparkling and flowery in style. Furthermore, obscure and implicit words are frequently employed to help acquire the prose-style scenery descriptions. So, in order to enhance the aesthetic effect, classical quotations, flowery expressions and rhetorical devices are taken advantage of with high frequency in Chinese scenic-spot introductions. And those can be classified into the expression of indirectness, complexity and fuzziness.

2. 2.1 Beautifulness of Indirectness 一 Using Quotations

In order that the scenery descriptions will be more appealing to readers, Chinese authors are like to quote famous verses from well-known poets or allusions to add aesthetic element.. Moreover, allusions and poems are usually employed to indicate a long history and great influence of scenic-spots, then further stimulate readers, interest in sightseeing.

Examples(3): “烟水苍茫月色迷，渔舟晚泊栈桥西。乘凉每至黄昏后，人依栏 杆水拍堤。”这是古人赞美青岛海滨的诗句。（中国青岛指南2002: 10)

Obviously, the classical Chinese poem is beautiful for its compact form, musical sound and far-reaching aesthetic moods.

Although poems in scenic-spot introductions embody great aesthetic value and convey supplementary information, many translators choose to omit it for brevity. Robert Frost has argued that poetry is what gets lost in translation (Frost 1973:59), and Jakobson declares that all poetic art is therefore technically untranslatable ( Bassnett 2004:23). For the above example, they are separately translated into " Qingdao is a charming coastal city, whose beauty often appears in poetry” .  The translator only mentions it in one word. However, the present author suggests some poems or lines in scenic-spot introductions be translated for the aesthetic function as the following example.

Examples(4):宋代诗人苏东坡用“浓妆淡抹总相宜”来赞誉西湖。

Translation: The West Lake was compared by Su Dongpo, a celebrated poet of the Song Dynasty (960-1121), to a beauty 4Vho is always charming in either light or heavy makeup.” (孙万彪 & 王恩铭 2004: 273)

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