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Translations from the Chinese
"The translations...were made over twenty years ago...In arranging the poems for this illustrated edition I have corrected a certain number of mistakes. But on the whole I have reprinted the poems as they stood in 1918 and 1919"
- GenresPoetryChinaNonfiction
325 pages, Hardcover
First published January 1, 1941
2 people are currently reading
64 people want to read
About the author
Arthur Waley
240 books40 followersArthur David Waley was an esteemed English orientalist and sinologist, renowned for his translations of Chinese and Japanese poetry. He received numerous honours, including the Commander of the Order of the British Empire (CBE) in 1952, the Queen's Gold Medal for Poetry in 1953, and was invested as a Member of the Order of the Companions of Honour (CH) in 1956.
Waley was largely self-taught, and his translations brought Chinese and Japanese classical literature to a broad Western audience. He translated works such as A Hundred and Seventy Chinese Poems (1918), The Tale of Genji (1925–26), and Monkey (1942), making significant contributions to the understanding of East Asian literary traditions in the West. Despite his extensive knowledge, Waley never visited China or Japan, nor did he speak Mandarin or Japanese, focusing solely on written texts.
Born in Tunbridge Wells, Kent, he attended Rugby School and briefly studied Classics at Cambridge University before leaving due to vision problems. In 1913, he became Assistant Keeper of Oriental Prints and Manuscripts at the British Museum, where he taught himself Classical Chinese and Japanese. Waley was also active during WWII, working for the Ministry of Information and running the Japanese Censorship Section.
He maintained a close personal relationship with dancer and orientalist Beryl de Zoete, though they never married. Waley passed away in 1966, shortly after marrying poet Alison Grant Robinson. His work left an indelible mark on the field of translation and introduced the high literary cultures of China and Japan to the English-speaking world. His translations continue to be highly regarded and widely published, influencing generations of readers and scholars.
Waley was largely self-taught, and his translations brought Chinese and Japanese classical literature to a broad Western audience. He translated works such as A Hundred and Seventy Chinese Poems (1918), The Tale of Genji (1925–26), and Monkey (1942), making significant contributions to the understanding of East Asian literary traditions in the West. Despite his extensive knowledge, Waley never visited China or Japan, nor did he speak Mandarin or Japanese, focusing solely on written texts.
Born in Tunbridge Wells, Kent, he attended Rugby School and briefly studied Classics at Cambridge University before leaving due to vision problems. In 1913, he became Assistant Keeper of Oriental Prints and Manuscripts at the British Museum, where he taught himself Classical Chinese and Japanese. Waley was also active during WWII, working for the Ministry of Information and running the Japanese Censorship Section.
He maintained a close personal relationship with dancer and orientalist Beryl de Zoete, though they never married. Waley passed away in 1966, shortly after marrying poet Alison Grant Robinson. His work left an indelible mark on the field of translation and introduced the high literary cultures of China and Japan to the English-speaking world. His translations continue to be highly regarded and widely published, influencing generations of readers and scholars.
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Displaying 1 - 12 of 12 reviews
October 29, 2010
In this collection of Chinese poems, about one half are from the beginning of the current era, and the other half are poems written by Po Chu-i (772-846 CE). The poems are from a different culture and era, but this is poetry you can understand. The writing is about love, death, friendship, corruption, power, nature, etc.
Of the many choice lines and thoughts, a few provide the flavor. On the natural cycles of life and death: "Drift on the Stream of Infinite Flux, without joy, without fear: When you must go - then go, and make as little fuss as you can." Waiting for a friend to come home from a war: "Each day I go out at the City Gate with a flask of wine, lest you should come thirsty. Oh that I could shrink the surface of the World, so that suddenly I might find you standing at my side." Taking a poke at the powerful, a father hopes for a son who is ignorant and stupid so that "he will crown a tranquil life by becoming a Cabinet Minister."
There are many poems from Po Chu-i. He is a high ranking official who was exciled a couple of times. He occupied his time by commenting on his fate and on his surroundings. In the introduction to this section of the collection, Waley writes that the most striking characteristic of Po Chu-i's poetry is its "verbal simplicity,"in contrast to those who write "to display erudition" or literary "dexterity." Po Chu-i's best poems are those that, as Waley writes, "were inspired by some momentary sensation or passing event." Many of the poems intended to convey "moral instruction," however, seemed forced. It is almost like he wrote too much.
In this old edition (1941), the poems are set out simply on the page, not crowded or pinched. The pages are on thick paper with many illustrations that are in themselves terrific. This is an old school book that shows the value of presentation.
Of the many choice lines and thoughts, a few provide the flavor. On the natural cycles of life and death: "Drift on the Stream of Infinite Flux, without joy, without fear: When you must go - then go, and make as little fuss as you can." Waiting for a friend to come home from a war: "Each day I go out at the City Gate with a flask of wine, lest you should come thirsty. Oh that I could shrink the surface of the World, so that suddenly I might find you standing at my side." Taking a poke at the powerful, a father hopes for a son who is ignorant and stupid so that "he will crown a tranquil life by becoming a Cabinet Minister."
There are many poems from Po Chu-i. He is a high ranking official who was exciled a couple of times. He occupied his time by commenting on his fate and on his surroundings. In the introduction to this section of the collection, Waley writes that the most striking characteristic of Po Chu-i's poetry is its "verbal simplicity,"in contrast to those who write "to display erudition" or literary "dexterity." Po Chu-i's best poems are those that, as Waley writes, "were inspired by some momentary sensation or passing event." Many of the poems intended to convey "moral instruction," however, seemed forced. It is almost like he wrote too much.
In this old edition (1941), the poems are set out simply on the page, not crowded or pinched. The pages are on thick paper with many illustrations that are in themselves terrific. This is an old school book that shows the value of presentation.
June 22, 2020
I really liked almost all of this book, but I really did not enjoy the extensive selection from Po Chu-i. Sad!
June 9, 2014
The book I own is, I think, almost sixty years old. It is a beautiful book, neatly bound, with captivating drawings and a clean, open page design. This beauty and craftsmanship is a good reflection of the contents.
Translations from the Chinese covers the long history of Chinese literature (mostly poetry) from 300 B.C. to 1100 A.D. The poems selected by Arthur Waley have simple charm and beauty, often about everyday occurrences. They never flinch from the difficulties of life, the sorrow or the occasional futility. (I can’t say how much this attitude is reflected in all Chinese poetry, or if this simply reflects the editor’s personal interests – or what he perceives to be the interest of the Western reader.)
Most poetry lovers are familiar with Ezra Pound’s translations (rewrites?) of Li Po, who is represented in this book. The long section featuring the poetry of Po Chu-i is particularly good.
I have to admit, however, that this kind of poetry is almost diametrically opposite of what I usually read. I tend to prefer poetry filled with compelling speakers in compelling situations expressing their ideas in highly wrought, figurative poetry.
Although charming, this “everyday” poetry can easily become monotonous. One poem runs into the other. One poet blurs into another. Like most lyric poetry, the interest in the poetry is as much an interest in the poet. And most poets are not that interesting. This anthology represents the best (at least in one person’s opinion) poetry of more than 13 centuries. The dross, I expect, has been removed -- and quite a bit of it, I would imagine.
Still, there is a quiet, wind-creaking beauty to these poems, making them well worth reading. I recommend this to all readers.
Translations from the Chinese covers the long history of Chinese literature (mostly poetry) from 300 B.C. to 1100 A.D. The poems selected by Arthur Waley have simple charm and beauty, often about everyday occurrences. They never flinch from the difficulties of life, the sorrow or the occasional futility. (I can’t say how much this attitude is reflected in all Chinese poetry, or if this simply reflects the editor’s personal interests – or what he perceives to be the interest of the Western reader.)
Most poetry lovers are familiar with Ezra Pound’s translations (rewrites?) of Li Po, who is represented in this book. The long section featuring the poetry of Po Chu-i is particularly good.
I have to admit, however, that this kind of poetry is almost diametrically opposite of what I usually read. I tend to prefer poetry filled with compelling speakers in compelling situations expressing their ideas in highly wrought, figurative poetry.
Although charming, this “everyday” poetry can easily become monotonous. One poem runs into the other. One poet blurs into another. Like most lyric poetry, the interest in the poetry is as much an interest in the poet. And most poets are not that interesting. This anthology represents the best (at least in one person’s opinion) poetry of more than 13 centuries. The dross, I expect, has been removed -- and quite a bit of it, I would imagine.
Still, there is a quiet, wind-creaking beauty to these poems, making them well worth reading. I recommend this to all readers.
March 11, 2017
great achievement for its time, bringing these beautiful works to the west but there are far better translations available to us today.
June 17, 2024
There's obviously a lot of localization here, but I found the translated text engaging. Nice illustrations, too.
October 9, 2016
Disclaimer #1: I hate poetry.
Disclaimer #2: It is extremely hard to judge poetry in translation if you don’t know the originally language it was written in. You miss the music of the original and cultural nuances of the words chosen. You can never know how close the translator came to conveying the author’s true intent.
That being said there are a few poems in the early part of Waley’s book that are quite moving and will resonate with today’s readers. A large part of the book is devoted to the works Po Chü-I and it is interesting to read his poems knowing roughly where he was in life when he wrote each one, but overall, I found it a chore to finish reading "Translations from the Chinese".
Disclaimer #2: It is extremely hard to judge poetry in translation if you don’t know the originally language it was written in. You miss the music of the original and cultural nuances of the words chosen. You can never know how close the translator came to conveying the author’s true intent.
That being said there are a few poems in the early part of Waley’s book that are quite moving and will resonate with today’s readers. A large part of the book is devoted to the works Po Chü-I and it is interesting to read his poems knowing roughly where he was in life when he wrote each one, but overall, I found it a chore to finish reading "Translations from the Chinese".
August 29, 2010
Resignation
Keep off your thoughts from things that are past and done;
For thinking of the past wakes regret and pain.
Keep off your thoughts from thinking what will happen;
To think of the future fills one with dismay.
Better by day to sit like a sack in your chair;
Better by night to lie a stone in your bed.
When food comes, then open your mouth;
When sleep comes, then close your eyes.
Keep off your thoughts from things that are past and done;
For thinking of the past wakes regret and pain.
Keep off your thoughts from thinking what will happen;
To think of the future fills one with dismay.
Better by day to sit like a sack in your chair;
Better by night to lie a stone in your bed.
When food comes, then open your mouth;
When sleep comes, then close your eyes.
July 2, 2009
In this book you will find ancient chinese poems that were translated recently. The cool thing about it is that it opens a window into the ancient chinese way of thinking and living. There is a caption were a young boy has to take an exam for civil service, in the late 1700 chinese era, and you realize how advanced in the social system they were at that era. WOW.
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March 23, 20131941 edition
October 26, 2016
Essential to the anthropology of Chinese folk theater
November 17, 2016
The beauty and simplicity of the poems shines through in this translation.
March 5, 2016
Excellent book very interesting reading.
Displaying 1 - 12 of 12 reviews