Ebook Classical Chinese Poetry: An Anthology
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Classical Chinese Poetry: An Anthology
Ebook Classical Chinese Poetry: An Anthology
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Review
“In the way of the pioneer translators of Chinese poetry during the past century--of Arthur Waley, Burton Watson, Willis Barnstone--David Hinton has heard and lured into English a new manner of hearing the great poets of that long glory of China's classical age. His achievement is another echo of the original, and a gift to our language.†―W. S. Merwin“Hinton has established himself as the premier Chinese translator of our generation . . . He is a national treasure.†―William Mullen, The New York Sun“I don't know if [Hinton's Selected Poems of Po Chü-i] is superior to the original or not, but it's superior to anything I've ever seen in Chinese, and about the same for English.†―A. R. Ammons“Hinton's music is subtle, modulated . . . He has listened to the individual tone of each poet, and his craft is equal to his perception . . . He continues to enlarge our literary horizon.†―Rosemary Waldrop, citation for the Harold Morton Landon Translation Award“[The Late Poems of Meng Chiao] affords us what is all too rare in Chinese translations: the sustained, recognizable resonance of a single voice at a single moment . . . This is a real contribution to the small body of genuine poetic translation.†―Richard Howard“Given the magnitude of his ability and his overall project, Hinton is creating nothing less than a new literary tradition in English, an event of truly major importance not only to English literature but also to the literature of my own language. I cannot recommend the value of his work too highly.†―Bei Dao
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About the Author
David Hinton's translations of classical Chinese poetry have earned him a Guggenheim fellowship, numerous NEA and NEH fellowships, and both of the major awards given for poetry translation in the United States, the Harold Morton Landon Translation Award, from the Academy of American Poets, and the PEN Award for Poetry in Translation, from the PEN American Center. He is also the first translator in over a century to translate the four seminal works of Chinese philosophy: the Tao Te Ching, Chuang Tzu, Analects, and Mencius. He lives in Vermont.
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Product details
Paperback: 512 pages
Publisher: Farrar, Straus and Giroux; First edition (February 2, 2010)
Language: English
ISBN-10: 0374531900
ISBN-13: 978-0374531904
Product Dimensions:
5.6 x 1.3 x 8.2 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
4.9 out of 5 stars
18 customer reviews
Amazon Best Sellers Rank:
#45,263 in Books (See Top 100 in Books)
Let me say right off the bat that I am not much of a poetry afficionado but I have been a student of chinese philosophy for a long time. There is an argument to be made that many Chinese classical texts are written in a poetic style. Indeed, Ihave argued that myself. Poetry, like music and art, has the abilty to convey more than the sum of its words, notes or pictures. Through the artistic arrangement of words, images and white space memorable and meaningful pieces can be produced, whether with poetry, music or art.It is with this understanding that I heartily recommend this anthology. This book is filled with such memorable and meaningful passages as to defy imagination. I keep this by my bedside to read before turning outthe lights.Whether you like chinese philospohy or are a poet at heart you will be able to find this book a great read.
David Hinton is thoroughly knowledgable in this area and provides one of the definitive works on classical Chinese poetry. The historical notes - the cultural backdrop against which these poems - provide fascinating insights, as do the brief biographies on the poets. We read a lot of poetry; this is one of our favorite books.
This anthology is itself a work of American literature---not something that can be said with any degree of confidence of most such compilations. For many years now Hinton has been quietly and tenaciously amassing a body of translations of classical Chinese poetry that is provocatively different from the Poundian model (which tends to favour a style that is spare, pellucid, minimalist and---by definition---'Imagist').Hinton's versions, by contrast, are knotty, thoughtful, muscular and torsive. They are also intensely musical. They restore a measure of sheer passion and 'difficulty' to Chinese poems that, while it suits certain poets better than others, is always highly compelling. Hinton is steeped in Chinese philosophy (particularly Daoism) and this has led him to develop his own private 'philosophical' diction, which he uses pretty consistently throughout. We general readers sometimes forget how allusive Chinese poetry is, not just to Chinese history, astrology, medicine etc., but also to Confucianism, Daoism and Buddhism.My only (very minor) reservation about this admirable collection, is that his style is so distinctive that it might be thought to impose a degree of homogeneity on his chosen source texts; and that this could be seen as a little misleading. The same charge could of course be laid against Waley's translations, or Burton Watson's---or even Ezra Pound's. Nor, when one looks more closely at the text as a whole, does it seem quite fair: Hinton's Shi Jing poems are unlike anything he's ever done before, for instance; and his renderings of Li He are likewise noticeably different from those of Du Fu or Meng Jiao.By tackling so broad a span of Chinese literary history, Hinton has set himself a whole set of new problems to solve, and the result has been a triumphant success. What a treat to see him getting under the skins of so many other major Chinese writers, and giving them fresh voices!His decision to stop at the end of the Song Dynasty makes perfect sense, though I'd love one day to see what he makes of those many wonderful Yuan Dynasty qu poems that at present we have to go to Seaton for (not that Seaton isn't pretty wonderful himself).In recent years we've been highly fortunate in our American translators of both Chinese and Japanese verse: but Hinton really is in a class of his own. Buy this, and treasure it during your own lifetime; then pass it on to your children and grandchildren. Buy it in hardback, so that it will weather the decades. (But do so quickly. Hardback editions have relatively small print-runs. In fifty years' time, second-hand copies of this masterpiece will be worth a small fortune.)
I have been reading Chinese and loving Chinese poetry for about 25 years, over half my life now. I have also read many books of translations, for better and worse, but nothing in English so alive, so understanding and wide as this. I have an old experience of reading Chinese poems and thinking - this poem is so amazing, o if I could tell them... & had long given up the thought that I would ever see a group of translations I could so enthusiastically share with my non-Chinese speaking friends. Now I am buying this book for that purpose. When you sit long enough with a good thought you never know what exactly will happen. This is how I feel about this book.Regarding the book itself, it is miraculous to have such an English translation of so many poems at once, and to have the poems so intelligently selected and ordered to illustrate the changes in style and thought over time. It is completely delicious. It is like innocently visiting those Chinese places, those rivers, mountains and temples, in an English language time machine. I feel this especially with the Chan era poems of the Tang and Sung, with their emphasis on rendering immediate experience. In the context of their immediacy, they arrive as timeless, and so translate amazingly well in the hands of such a gifted translator.Technically, Hinton does a good job of dealing with the impossible problem, of rendering the natural multivalence of Chinese imagery and syntax while maintaining the life-stream of fluency and clarity these poems have. I agree with the previous reviewer Maynard here, and like his adjectives for this translation: "knotty, thoughtful, muscular and torsive...musical." Maynard talks of the earlier Pound translations as "pellucid and minimalist." This is also the case. In Hinton we have a bridge to a better understanding of Chan/Zen than Pound had.The empty Zen garden we imagine from photos, the one that looks like a perfect celestial parking lot, is at best a tool for people practicing to learn what Wu-emptiness means. It is not the result of Zen. The "ten-thousand things" - they are what is empty, & what need to be realized as empty. The better Chinese Chan poets really knew this, & Hinton seems to understand it, which is why his non-minimalist style is more accurate, meaningful, and to me more beautiful. He chooses poems which say as much and renders them vividly.I think Hinton may confuse Chan emptiness somewhat with the Taoist wash-away realization of the great mystery of the come-and-go, but I think the Chinese also may have had this confusion, so maybe Hinton is just expertly representing that, or maybe it is my problem. It is a point that could be discussed. Hinton is like the Chinese poet masters in that he is a scholar, realizer and musician too. We see him as a scholar in his introductions to the periods the poems where written in, and in the useful references he provides. As a poet we judge him as the poems go. We can each of us decide what percentage, balance or mix of these elements makes the best poet or the best translator, but I don't know who, who takes these things to heart, can quibble with the value of this effort.Translations can never be the poems themselves, but with a heroic effort the poems will try to leap through, and I think this is that. Like I said, you never know what will happen. I suggest everyone who is interested should get this book, keep it and read it. Thank you to the translator for your attention, inspiration and labor. It is very kind to us.
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