As fuzziness is a general character of language and an important aspect of its inherent attributes, fuzziness enjoys high pragmatic and aesthetic value and has utmost significance in literary creation. As a representative and pioneering theory in modern literature theory, Reception Aesthetic theory regards literary appreciation as a process in which readers constantly render value to the work through their dialogue with it. Only when the readers integrate their former experience and subjective thoughts with the work during the interpretation can it gain its value and significance, or the work is no more than a mass of lifeless words. Reception Aesthetic theory gives highlight to the predominant role of readers and proposes three important concepts which are "horizon of expectation","appealing structure" and "fusion of horizon". As an "appealing structure", the work has a large space for interpretation and readers holding different "horizon of expectation" interpret it differently. Only when the readers actively adjust their "horizon of expectation" and well communicate and echo with the work can "fusion of horizon" be finally achieved, thus endowing the work with value to the largest extent. It is in such dynamic process in which readers voluntarily endow value to the works that a kind of fresh aesthetic pleasure can be achieved. Therefore, the work as an "appealing structure" gains its aesthetic value.I combine fuzzy language with Reception Aesthetics and regard the fuzzy language as a typical kind of "appealing structure", which has significant aesthetic value and plays a significant role in rendering the beauty of literary works. As there are differences between Chinese and English in terms of generative mechanism of fuzzy language, the extent of richness of fuzzy language in Chinese far surpasses English; on the other hand, there are differences between the English readers and Chinese readers in lots of aspects such as their cultural background, which leads to the differences of their "expectation of horizon". Therefore, during C-E translation, fuzzy language in Chinese inevitably suffers from a certain extent of ablation, so as to cause the ablation of aesthetic sense.As an outstanding Chinese modern novel, Bian Cheng excels in its use of fuzzy language, giving readers lingering and fresh sense of beauty. This paper takes Bian Cheng by Shen Congwen and its English version The Border Town translated by Yang Xianyi and Dai Naidie as examples, analyzing in detail the ablation of fuzzy language in C-E translation at the levels of vocabulary, syntax and rhetoric, etc; it also finds that ruling out the reasons of the translator, the fuzzy language has been ablated in some extent on the lexical, syntactic and rhetorical level. Then, in the aspects of functional, syntactic and rhetorical equivalence, it illustrates the efforts made by the translator in order to detain the fuzzy language and discusses about how to retain the fuzzy language to the largest extent in C-E translation. |