三十年代，曾虛白隨父親曾樸落腳上海法租界，開設真美善書店，推出《真美善》雜誌，以翻譯西方文學、出版優秀作品為目標，進行一連串的出版計畫。在他此時期譯作中，尤重英法唯美作品。曾虛白曾指出，此一翻譯選擇，是為了「平凡化」當時文學家所侈談之「肉感」文學，以傳遞新的美學價值，刺激中國現代文學的新生，其翻譯實踐與閱讀接受，由此參與了上海本地文學與文化的對話，其中所涉及的翻譯與詮釋、跨文化轉化等議題，值得深入探索。本文旨在分析曾虛白此時期譯介的帶有唯美色彩的文學作品，如法國作家皮耶路易（Pierre Louÿs, 1870-1925）的《肉與死》（Aphrodite: moeurs antiques）、顧爾蒙（Remy de Gourmont, 1858-1915）及梅里美（Prosper Mérimée, 1803-1870）的小說。通過細讀原文與翻譯，本文探討曾虛白的唯美文學翻譯，如何呈現其異國唯美想像；及在其改動與求存之間，所反映出的跨文化轉化樣貌。本文綰結曾虛白的翻譯論述，探討譯者對翻譯的立場、態度以及計畫，如何影響其翻譯策略，重新詮釋英法唯美文學作品，更梳理其中所反映出的本地文化關懷。本文還將論及與其翻譯同時開展的唯美文學創作：如《三稜》等作品，從作者與譯者的對話此一角度，評述其唯美文學翻譯、評介與創作間的關係。

In the 1930s, Zeng Xubai settled down in the French concession in Shanghai, and following in his father’s footsteps, opened a bookstore called “Truth, Beauty, and Goodness” (Zhenmeishan), setting his sights on publishing literary journals and translating foreign classic literature, especially western aesthetic literary works. Zeng Xubai pointed out that the reason for his preference for certain aesthetic literature is that it sets up a standard of a new literary value for China, trivializing the popularity of “sensational literature” (rougan wenxue) at that time, and rejuvenating modern Chinese literature. Therefore, translation can be seen as not only a powerful cultural practice that Zeng Xubai adopted, but also as a token that shows how Zeng Xubai participated in the development and construction of a local literary environment. This paper aims to analyze the characteristics and cultural connotations of Zeng Xubai’s writings and translations during this period, in particular his translations of some French aesthetic works such as Pierre Louÿs’s novel, Aphrodite: moeurs antiques, several works of Remy de Gourmont, Prosper Mérimée’s literature, and his own novels. It also examines how Zeng Xubai’s translation ideals affected his translational strategies and his own literary creations through close readings and comparisons. Furthermore, this paper contextualizes Zeng Xubai’s literary activities, including his translations and writings, to highlight his social and cultural concerns toward the literary field and historical moments that he faced, all of which is hidden in his literary practice, and to illustrate how it can be taken as a dialog that takes place between the writer and his time.