Image-G gives rise to particular gestalt qualities and these qualities, when experienced and actualized in the T-text, can produce certain aesthetic effects. Literary translation, which is both a linguistic transference and aesthetic representation, should produce such qualities and effects in the recreated work. Certain aesthetic effects can be achieved if the manifested artistic image-G is represented. The equivalent image structuration of the translation would create optimal conditions for the transferal of aesthetic properties. That is, the aesthetic effect is dominated by transformation of an artistic gestalt rather than by an explicit deformation of the code. Just as de Beaugrande (1978:88) stated, only if the reading process is consistently pursued to the point where the interpretation is maximally dominated by text-supplied information can a truly objective translation be produced, a translation which validly represents the perceptual potential of the original. In this sense, we are to recognize the significance of image in literary translation.

In this section I propose, therefore, to approach the question of the translation of literary works through close analysis of examples, not so much to evaluate the products but rather to show how aesthetic effects can emerge from the translators' representation of gestalt images. The image-G, when properly actualized in the T-text, can produce quite a few aesthetic effects such as harmonious and affective. We are mainly interested in the effect of harmony.

Harmony, a universal yet rather abstract notion, characterizes many domains as an aesthetic effect. Every work of art involves, through its specifically image schema, a disposition of the elements which articulates and orders its organization - an organization by which the work is harmonized and becomes an aesthetic being. As Dufrenne (1973) put it, in every art, the sensuous must be arranged and ordered in such a way as to be perceived unequivocally. This is harmony. It is in the unequivocal organization that lies the very essence of harmony. The work is always composed of harmonic or rhythmic schemata. And the harmonic or rhythmic organization resides in the whole, for when organization is concerned, it refers to the integration of the parts. The apprehension of the artistic image does not take place as an isolated event, mainly because its emergence depends upon the interrlatedness of the sensuous elements which constitute its sensuous being. As Mitias pointed it out, the qualities which constitute the aesthetic being of the work acquire their substance from the "logic" of the work, according to which the various created qualities interact to produce the symphony of the qualities which make up the aesthetic object. When J. Addison, (1970: 188) defines "beauty", he characterizes it as the harmonious adaptation of parts to the whole. In literary work of art, the image-G is engendered by a harmonic schema - a particular organization of elements which grants certain privileges to some aspects and thus establishes accents in the composition. Just as the dominant for the principal tonalities in a musical work, and the principal tones which are estahlished in a painting, the accentuating role in literature is fulfilled by certain wording or rhetoric arrangement that constitutes the accent.