In literary translation, it is through the agency of harmony that the translator is able to grasp the whole image, and reversely, in translational production, it is by means of the gestalt image mentally actualized that he is able to create a text with an aesthetic effect of harmony. In mental actualization, the harmonic schema governs the unfolding of the image, or in other words, provides a direction; while in the linguistic actualization in the T-text, the image-G imposes a unity on the diversity of its forms and movements, and thus results in an aesthetic harmony in the text. A text may be abridged or simplified, the elements of the work and their fundamental coherence have to remain intact, otherwise the work would lose its aesthetic identity as a whole. The more analytical characteristic of this effect is found on consistency in text production.

Literary translation or reproduction is an instaurative action, which does not just mean the inclusion of necessary elements, but is to build the text into a logical and aesthetic consistency. By consistency we mean the coherent organization of a linguistic text always keeping to a certain course, a certain gestalt quality (mood, tone, etc. ). As Mitias stated:

In this process every element is internally related to the element which is next to it; in a way the presence of the latter is necessary, for its nature and role , and consequently its value , have a bearing upon the elements which come before, after,

or next to it.

                                    (Mitias, 1988:114)

This is a manifestation of the internality of relations among recreated forms. Every recreated element - tension, contrast, accent, rhythm or any that one may select - seems to emanate from the context that is indispensable to its existence. The logical form of the image-G determines the distribution of the elements which will be projected into the finished product. Thus the content lived - harmony - becomes valuable, and the translator as an artist skillfully embodies it in a sensuous form.

In this way the organic unity of the world is in principle transferred to another language as a living form so as to be further experienced by the target language reader despite that the medium to represent the image is somewhat different from the original. 

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