【正文】 odel of language art, have the very high aesthetic value. In longterm circulated process, the literary prose watered a variety of ages in the literary field.In narrow sense, literary prose is lyric prose. Unlike other literary style, lyric prose is charactered by what is one experience and undergo, what is one hear and see and what is one think and meditate. B. The characteristics of literary prose1. Scrambled in appearance but united in spiritThis theory is put forward by Xiao Yunru which is acknowledged and spread extensively. “Scrambled in appearance” denote that it is not only a easily materialgetting one but also free of time and space. Literary prose follows no set form in the technique of expression, such as narration, description, argument and exposition. The author is free to zoom in his/her own way. “United in spirit” refers that the theme the author want to convey is supposed to be clear and definite. All without exception serve for a better expression of the theme.2. Bantam length and farreaching prospectThe author draws support from imagination and association, processing from one to another, from the shallow to the deeper to municate the true emotion. Or rather, literary prose is closely related with such lyric art as bi xing and expressing one ambition by describing natural objects.3. Graceful, concise language and full of literary talent“Graceful” refers to the language of literary prose, pictures a gentle stream to voice the author’s genuine sentiments, and is pure, fresh, bright, and beautiful. “Concise” is quoted for a terse, unadorned and flow language style of literary prose, which, barely in a nutshell, can trace out lively images and affecting scenes. That is to say, literary prose strives to speak the circumstances and refresh the emotions of the readers.Ⅱ The Concept of Translation EquivalenceA. The definition of the Translation EquivalenceThe most authority of the theory is Nida’s “equivalence effect theory”(等效論), “equivalence theory”(奈達(dá)的等值論), or “functional equivalence”(功能對(duì)等). However, by no means does Nida’s “equivalence” theory drive at perfect similarity. He and Taber put forward the term “equivalence” in 1969 and clarified as follows: The translator must strive for equivalence rather than identity. In a sense this is just another way of emphasizing the reproducing of the message rather than the conversation of the form of the utterance (Nida and Taber 12).As far as he can see, translation was not intend to render everything identity, but rather reproducing “the closest natural equivalence to the source language message” in the target language. The Translation equivalence divided into two parts, the minimal level and the maximal level. The minimal level of the “functional equivalence” shows that “The readers of a translated text should be able to prehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it.” The maximal level is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993 118。The beautiful version is translated by Wang zuoliang, who give us a exact and vivid translation of Bacon’s of studies, which is written 300 years ago. For the sake of original’s elegance, Wang deliberately utilized formal written words and expression mode with the proper arrangement with adjacent words and phrases. In the above sentence Wang interpreted “expert men” to 練達(dá)之士and “e best from” to 舍……莫屬. That is to say, a triumphant translation has to gain correct understanding of the original text by way of being on to the equivalence in the notional function. Example2 Though the rope may part and the great junk swing back, in the end the rapid will be passed。太陽并不燦爛，但是柔和的光線穿過條狀云彩，向四處彌漫；條狀云彩橫貫長(zhǎng)空，仿佛一條條平行線。Both of the two are beautiful description of the peaceful scenery. A translator, due to the large difference between English and Chinese, is necessary to throw over the sentence structure of the origin after holding the meaning and understanding the author’s conception. Then rearrangement is indispensible in order to achieve a better translation of the literary prose. The version above has cast a aesthetic effect in Chinese. The rendition “連續(xù)兩個(gè)星期，一直雷雨交加，這個(gè)晴天也就分外難得” (It was the day by itself, ing after a fortnight’s storm and rain), the sentence sequence is almost contrary to the original sentence, but seems to be more suitable to the origi