Two small people: nothing to contend with, in quiet Ch'ang Kan to day's end. They ride on it the same way one would ride on a cockhorse. Which only makes more interesting the fact that Pound, maintaining the beautiful indirection of the poem, transformed its subject. If it is, it means that the wife as a widow does not want to do this. The techniques employed in the second piece are still verse techniques — compare with the 'free verse' renderings above — but they are very simple, which has allowed the rendering to be only marginally poetry. At the beginning of the poem, the narrator is an innocent girl playing in the daisies who does not even know what sex is.
The monkeys make sorrowful noise overhead. Along the trellis, playing with green plums. . What we consider good in Waley is already forged in Pound, for instance, line 10. Lowering my head, I looked at the wall. In the Chinese poem, due to lack of specified relations of tense or number, the narrative sequence is not explicitly established by syntactical markers. Explored in the Japanese context on: Ewick, David.
Still, for the wife, her love doesn't seem to have been immediate. We ran round and round the bed, and tossed about the sweetmeats of green plums. The Cantos, though full of many different tangents, begin and end with 's legendary journey. The wife remembers herself as a little girl, recalls a time when she entered into an arranged marriage without much feeling, and then, spurred by the pain her husband's departure has provoked, slowly realizes how much she cares for him. The last four lines of the poem make it all too clear: If you are coming down through the narrows of the river Kiang, Please let me know beforehand, And I will come out to meet you As far as Cho-fu-Sa. Distinct Chinese voices sound alike in these translations, and the poems dwindle into engaging little thoughts or anecdotes. What he didn't find or fully appreciate, he made up, as any decent writer will.
Today the professional translator's approach is often adopted, the least demanding, in which a precise prose meaning must stand duty for literary quality. They are now too deep to clear away. However, we can at least say this: it implies that a grown-up person is speaking to a person an imaginary audience about two children's innocence. If Li Bai had found some other word of useful meaning within the formal constraints of the poem, he would doubtless have used it. Called to, a thousand times, I never looked back. The play explores the nature of true love, realistically and critically; the way Shakespeare intended it to be. A sense of retrospective ambivalence and nostalgia is thereby subtly implied.
I often thought that you were the faithful man who clung to the bridge-post, That I should never be obliged to ascend to the Looking-for-Husband Ledge. You came by on bamboo stilts, playing horse, You walked about my seat, playing with blue plums. By frequently including nature into his work, Pound alludes to his love of aesthetics and beauty. Why should I climb the look out? He believes that they are creating work for the wrong reasons. Copyright © 1991 by the Board of Regents of the University of Wisconsin System.
But of course Pound was selecting and shaping. The champions of Modernism swung to the other extreme, and announced that Pound had divined the essence of Chinese poetry while producing some of the most beautiful poetry ever written in English. We played with these little green plums. He also praised the verbal economy of traditional Japanese and Chinese poetry. The first version uses a 'clipped metre' or stress rhythm: which we can take further. All little Chinese girls normally have their hair cut straight across the forehead. In fact, he realized that Chinese poets had long been aware of the image as the fundamental principle for poetic composition that he himself was beginning to formulate.
We both lived in the village of Ch'ang-kan, 6. For her it is the scene of the beginning of his absence. But Pound deliberately alters what he found in Fenollosa and allows his syntax to overpower a geography none of his readers would be likely to guess. In the opening lines of the poem, the wife recalls her childhood when her husband was simply a playmate, a companion. Few of us have the seven years plus needed to learn Chinese — which is the only way really to appreciate Li Bai — and we fall back on equivalents, partial renderings, re-creations.
A lonely housewife hasn't seen her husband for 5 months, so she writes him a letter. No one would expect to find a moral to the ways of human beings; nether the less Shakespeare must. At fifteen I stopped scowling, I desired my dust to be mingled with yours Forever and forever and forever. Lines 8-9 establish the child-wife's shyness in this formal adult situation by offering a picture of her bent head and averted eyes, a shyness so extreme that she could not respond to her husband, no matter how many efforts he made. Wai-Lim Yip One can easily excommunicate Pound from the Forbidden City of Chinese studies, but it seems clear that in his dealing with Cathay, even when he is given only the barest details, he is able to get into the central consciousness of the original author by what we may perhaps call a kind of clairvoyance. I never laughed, being bashful. At sixteen you departed, You went into far Ku-to-yen, by the river of swirling eddies, And you have been gone five months.
It's unclear if he'll ever come back. Nature Pound often uses unexpected natural metaphors to reflect on people, business, and society. The young woman feels that she is growing older, aging by having to bear this hurt so early in life by an abrupt gap in the onflow of her short-lived happiness. It could be that the final stanza alone functions as a letter, with the previous six examining her reasons for writing it. Fifty-five T'ang Poem A Text in the Reading and Understanding of T'ang Poetry, Hugh M.
This literally states that autumn is already starting, but the picture of the leaves falling seems almost foreboding. Chinese children like to use a bamboo-stick without the horse-head and make believe that it is a horse. Chinese Poetry in Alex Preminger and F. In Fenollosa, the wife thinks of him passing through a notoriously dangerous group of river narrows. In the period when Jane Austen lived society was structured, society was ruled by class and wealth, marriages were based on reasons other then love. And we went on living in the village of Chokan: Two small people, without dislike or suspicion.