Poet
for Troubled Times
In
these perilous times, how to repay my Sovereign? Old and frail,
I can't stop thinking of it.
~Du
Fu
The Selected Poems of Du Fu
(Asian Writers Series)
Burton Watson, translator
Columbia
University Press, 2002 128 pages $17.50 (US)
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Reviewed
by G.S. McCormick
One of the greatest challenges facing
a competent translator of literary works is finding that delicate
balance between a solidly literal rendering of a work and "capturing
its spirit," as it were, keeping what is surmised to be the author's
general intention, yet sticking close to Keats' idea that poetry
"should please by a fine excess and not by singularity. It should
strike the reader as a wording of his own highest thoughts, and
appear almost as a remembrance." This is a problem faced by translators
for centuries and perceived failures in translating a piece adequately
have not infrequently led to scandal, controversy and even the occasional
head being lopped off. Consider poor William Tyndale who attempted
to translate the first real English Bible and ended up imprisoned
in 1536. Ultimately sentenced to death by strangling, his last words,
referring to his hope to the end that his translation would be allowed,
apparently being: "Lord! Open the King of England's eyes."
Those who undertake the daunting
task of translating an ancient and difficult language like Chinese
face no lesser challenge. Ezra Pound, in his "translations" from
various Chinese pieces, faced this problem by simply ignoring the
"Chinese-ness" as much as he saw fit and creating his own pieces.
Today, a suitable title of what Pound called "Cathay: Translations"
would be to replace the word "translations" with "inspirations."
Chinese poetry has been a vexing problem for writers for several
generations. The work of China's greatest poet, Du Fu, adds to this
translation difficulty a body of work written over 1300 years ago.
If one wants to imagine an earthly existence as far removed from
our own as one can possibly get, one need not look further than
8th century China. Yet the distance also allows an apt translation
into modern English even more power and resonance: for if a modern
reader can glimpse some of Du Fu's humanity, if she can glean something
for her own life from the writer's life lived so long ago, then
the translator has captured a seed of what makes us truly human.
What are the worries, joys, tribulations of Du Fu's age? Surprisingly
they are similar to our own, and Du Fu's constant compassion is
something readers (and critics) have long admired him for.
Given the only handful of attempts in the 20th century (the first
such century as a whole in which Chinese culture became widely accessible
in the West) to translate the work of Du Fu, it is obviously a formidable
task not diminished by the problem of balance mentioned above. The
struggle between "literal" and "literary" are not mutually exclusive,
of course, but, particularly in the last 25 years or so, emphasis
has been on maintaining some kind of "artistic integrity" yet with
the stipulation that we see as little of the translator's own thoughts
and ideas as possible (that's what introductions are for!). Keeping
as close to the literal meaning as possible is generally now seen
as optimal solution to the problem of translation. To demonstrate
just how the dynamics and values of translations have changed, compare
the following:
Thinking of
my Little Boy |
Thinking of
My Boy |
Chi
Tzu! it is Spring, we are still apart!
This song of the bright oriole, the warm weather
verily but sharpen my distress.
Cut off, separated, I am startled by the change
of season.
With whom can I talk of your quick perception?
Of the mountain torrent which pours its water
beside our pathway in the lonely
hills?
The rough branches which form our gateway in
the hamlet surrounded by old trees?
I think of you, and in my sadness find no comfort
but in sleep;
Leaning on the balustrade I warm my back and
doze when the sun shines after rain.
(Florence
Ayscough1), 1929
|
Comes
spring once more,
Pony Boy, and still we
Cannot be together; I
Comfort myself hoping
You are singing with
The birds in the sunshine;
Amazed at the change of season!
Now you have no one to
Admire you and say, "See
What a bright lad is our
Pony Boy!" I think of
The places we would enjoy
Together; in the hills,
Down by the valley streams
Under the trees outside
The gate; but best let
Myself fall asleep and
Forget, as the sun brings
Warmth to my old back.
(Rewi Alley2), 2000 |
Thinking of My
Boy
It is spring, Pony Boy, and we are still apart. You may be singing
now with the orioles in the warm sunshine. I am startled by how
fast one season displaces another; Who now acclaims your growing
cleverness?
My thoughts go to the running gally by the only mountain path, To
the rough wooden gate in the village of ancient trees. I think I
see him; I try not to doze While leaning on the balustrade and warming
my back in the sun.
(William
Hung3), 1969
The Ayscough translation
(published in 1929) was considered a competent translation at the
time. It is full of artifice, adding details Du Fu never intended
-- the "the warm weather/verily but sharpen my distress," for example,
has a nice sentiment to it and accentuates the emotion, but has
no relation at all to the original -- and loses almost completely
the sparse aspect of Tang-era poetic tone. In ancient Chinese writing,
strict forms were followed and written language employed notoriously
few function words (pronouns, prepositions, grammar particles, etc.);
thus word order is vital to piecing together the "messages," and
Du Fu's work is full of ambiguous phrases for the simple reason
that Du Fu liked to occasionally jumble up word order in a way not
seen previously. Du Fu was a master of making new rules and playing
with form (some Chinese critics argue, in fact, he changed the face
of Chinese poetry for subsequent generations of writers and continued
to highly influence poets well until the more modern literary revolution
of the early 20th century). In his large literary ouvre,
in fact, Du Fu employed all the forms available to poets of his
time and invented or developed several others.
The Hung translation (published in 1969) is in some ways the antithesis
of Ayscough's version: no line breaks, no dawdling over images or
ambiguities, it is a literal logbook of Du Fu's words, tied up sensibly,
brown paper package and string. Hung's response to Ayscough was
that of a "true" Chinese scholar. Hung was one of the seminal translators
of the late 60s who foresaw and helped shape the revolution to a
greater emphasis put on "ethnic" culture in many major American
universities. To Hung, Ayscough seems almost a caricature of a colonial
usurper: no reading knowledge of Chinese (Ayscough, like Pound,
worked with other scholars or translators), writing for white upper-class
readers in the United States and Britain, a book whose commentary
contains just a hint of the spice of condescension. For Hung, Ayscough
most certainly represents "old-school" Chinese studies.
The Rewi Alley translation
seems at first glance to be a happy medium, compromise to Ayscough's
flowery pretensions and Hung's noble intention at what ends up being
rather flat and dry. (Du Fu as compiler of lists of images and feelings).
But for all its ambition, the Alley collection lacks what both Hung
and Ayscough offer in their books: historical background. Du Fu's
work contains a myriad of allusion to Tang dynasty emperors, battles,
historical events, natural disasters, historical shifts and, to
the lay reader, much of the power of Du Fu's words (in any kind
of translation) simply loses its power without at least illuminating
aspects of his life, customs of the era, as well as conditions in
which the piece was written.
So vital, in fact, is this historical and biographical information,
one modern critic4 has suggested that in China's literary history,
to review Du Fu's work necessarily means reviewing his life and
vice versa. Indeed, historical records being as they have been throughout
Chinese history (spotty, erratically kept and often copied in line
with trends and moods of the ruling court), nearly all of the information
we have of Du Fu's life comes from his nearly 1,400 poems still
in extant. Since Du Fu's work was largely unknown until three centuries
after his death, little primary source material of Du Fu's life
has survived and the facts surrounding his life are sparse: he was
born in 712 A.D. in or near Luoyang (the present-day capital of
Henan Province). Failing the imperial examinations twice which would
have allotted the poet a respectable career and financial prosperity,
Du Fu spent much of his life wandering from city to city, sometimes
on the run from armed soldiers (and briefly held captive in the
Tang Dynasty capital of Chang'An when the then Emperor left, fleeing
a chaotic rebellion that would ultimately seriously weaken the Tang
line). Little is known about his immediate family: he was married
and had at least two sons and several daughters, though apparently
at least one son is thought to have starved to death during a particularly
trying time for Du Fu (and China generally). Du Fu's body of work
can largely be divided into various times of prosperity and hardship
and some of his most beautiful pieces are full of details of the
common person and their suffering.
Indeed, the quality
which has long been admired of Du Fu is his grand moral sense: his
compassion, his understanding and empathy for the lot of the peasant,
his outrage at the cruelties of the Emperor's conscription officers
who would regularly decimate entire villages taking away men (and
sometimes women) to die in foolish and largely unsuccessful military
campaigns. His deep loving relationships with friends (Li Bai, another
famous Chinese poet of the Tang era, is alluded to directly and
indirectly in several dozen works), love of and longing for his
family ("Pony Boy" is one such poem) and his many brothers is another
theme found in much of Du Fu's work. Long hailed by Confucian scholars
in China as one of the most highly moral poets, Du Fu also has had
a relatively long literary reputation, rather immune to the changes
in ruling families and the end of Imperial rule altogether.
* * *
The latest incarnation (and one suspects, future testament to the
development and idiosyncrasies of historical translation trends)
of Du Fu's work is the competent translations of Burton Watson 2002
book "Selected Poems of Du Fu." Though several are reworkings of
earlier translations (published in a 1984 anthology by Watson),
many of these pieces are the most recent translations of Du Fu in
a generation. Watson (who has also translated other Chinese poets
and several Japanese poets as well) strikes a fine balance in keeping
the poems fresh, vivid, but retaining a sense of Du Fu's literal
meaning. His version of the previous poem:
Thinking of My Little Boy
Pony Boy--spring and you're still far away;
warblers sing, so many in this warmth.
Parted, I'm startled at how the seasons change.
My bright boy, with whom is he discoursing?
Valley stream, a road over empty hills,
rustic gate, village of old trees--
Thinking of you, sorrowing, all I do is doze,
back to the sun, hunched over on the bright veranda.
(Watson5),
2002
Both denser and more
efficient than the other translations, Watson finds that delicate
place of keeping "intent" central to the piece yet still making
it workable as a poem, full of affecting imagery and plaintive emotion.
Watson solves the historical information problem by choosing to
rather err on the side of giving too much information (six lines
of historical and other information, in fact, for this eight-line
poem alone). The technique of explicating the historical background
after the title of each piece is problematic, disturbing and, at
times, awkward. The footnote scheme works better; however, the complete
lack of an index of titles or first lines (even lacking a proper
table of contents) means flipping through the entire book (well
over 100 poems) if searching for a particular poem (Either that,
or remembering Watson's esoteric numbering system or, even more
unlikely, determining approximately what year Du Fu wrote the poem
since they are placed in Watson's book more or less chronologically).
That said, the poems themselves are rendered sparsely, yet vividly,
the language jocular at times (retaining much of Du Fu's wry humor),
poignant at others. Another example of the various approaches to
translation:
From "Fleeing to Peng
Ya" (Ayscough1)
[…]
Famished, my foolish girl baby gnawed me;
She wailed; I dreaded tiger, wolf, would hear.
I covered her mouth and wrapped her to my
bosom;
She turned over, turned back, threw herself to the
side; the sounds increased; she screamed
with
rage.
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From
"Peng Ya" (Hung3)
[…]
The silly daughter tried to bite me when she felt
hungry;I feared her crying might attract the attention of tigers
and wolves; I held her mouth tight to my bosom; She wiggled
free and wailed the more. |
From "Ballad of
Peng Ya" (Watson5)
[…]
The baby girl in her hunger bit me;
fearful that tigers or wolves would hear her cries,
I hugged her to my chest, muffling her mouth,
but she squirmed and wailed louder than before.
This stanza comes in
a very difficult poem during which Du Fu and his family are leaving
Chang'An (modern day Xi'An) to escape the rebellion that had engulfed
the capital. The Ayscough version is wordy, though the imagery is
perhaps a bit clearer: "She turned over, turned back, threw herself
to the side" when Hung simply uses: "she wiggled free" and Watson:
"she squirmed"." But if "elegance" is using as few words as possible
without losing any meaning, then Ayscough's version frequently lacks
the elegance that Hung and Watson in their economy of phrase. But
Hung is matter-of-fact in his translation, hoping that the "purity"
of Du Fu's images will somehow override the flat language. Watson
buys the argument but works toward an aesthetic more akin to Ayscough's.
Again, as well, Watson elucidates the historical information directly
after the title which lends a certain emotional risk to it for the
reader, the details of the hardship made clearer by the background.
For those who prefer as little
context as possible, the Watson translations and abundant historical
atmosphere will serve to irritate. That said, Du Fu is a difficult
poet to understand unless one has some idea of the situation he
starts from. Chinese history (need it be said) is long and complex
and to simply bypass it is doing one a great disservice. For that
reason, Watson makes a great case for a book geared at those with
little or no exposure to China and her history. The poems are well-wrought,
insightful and elucidate the mind of this ancient writer in an undeniably
modern way.
Born in 1925 in New York and educated at Columbia, Watson is probably
the best known American translator of Chinese working today. His
1984 anthology of Chinese poetry was a successful and well-written
survey of the various eras of Chinese poetry up to the 13th century.
He has translated collections on Li Bai, Chuang Tzu, The Lotus Sutra,
as well as several collections of Japanese and Zen poetry. He has
taught Chinese and Japanese literature in Japan, California and
New York.
Works cited/References:
1 Ayscough, Florence (Ed.),. (1929). Tu Fu: Autobiography of a Chinese Poet
Boston: Houghton Mifflin.
2 Alley, Rewi (Tr.). (1999). Du Fu Selected Poems
Beijing: Foreign Languages Press.
3 Hung, William (Ed.). (1969). Tu Fu: China's Greatest Poet
New York: Russell & Russell.
4 Chou, Eva Shan. (1995). Reconsidering Tu Fu
Cambridge: Cambridge University.
5 Watson, Burton (Tr.). (2002). The Selected Poems of Du Fu (Asian Writers Series)
New York: Columbia University Press.
Hawkes, David (Tr. & Ed.). (1967) A Little Primer of Tu Fu
Oxford: Oxford University.
Watson, Burton (Tr. & Ed.). (1984) The Columbia Book of Chinese Poetry From Early Times to the 13th Century. New York: Columbia University.
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G.S.
McCormick, one of
the Plum Ruby Review editors, has spent much of his life moving
around. Raised in southern Idaho, he most recently relocated to
Montreal after living in Shanghai for 5 years. One of these days
he'll do a graduate degree. Until then, he reads, writes, works
and drinks far too much.
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