Sound of water cascading over rock.
A silent mountain in the night.
Bright moonlight washes over the pines.
One thousand peaks, all in one color.
“Walking to Guanghua Temple by Moonlight” by Ouyang Xiu [w/ Audio]
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Tag Archives: translated poetry
“Drunk in the Fairyland” by Huang Tingjian [w/ Audio]
In the face of heavy morning cloud again
And drizzling evening rain,
Leaning on each other, rugged the hills remain.
The Gorge of Witch and lofty peaks
Lock in the Southern Palace rosy cheeks.
In spring the halberds move in force,
Maids in fair dress welcome heroes on horse,
To the riverside town they go only.
I come to the wasteland a thousand miles away,
With my shadow so lonely.
How can I become cheerful and gay?
It is said the Southern land is so high,
It nearly scrapes the sky.
To the capital I stretch my eye,
I see but misty water far and nigh.
When I drank in the hall,
My friends were talents all.
Songstresses sang with rosy face
And dancers danced with grace,
Drunk, they intoxicated the place.
Hearing the cuckoo's home-going song
All the night long,
Could I resist my yearning strong?
Translation: Xu Yuanchong [translator]. 2021. Deep, Deep the Courtyard. [庭院深深.] Cite Publishing: Kuala Lumpur, pp. 191-192.
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BOOKS: “One Hundred Poems of Kabir (1915)” Translated by Rabindranath Tagore
One Hundred Poems of Kabir by KabirMy rating: 4 of 5 stars
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Kabir was a fifteenth century Indian poet and mystic. This collection was translated by the Bengali Indian Nobel Laureate Rabindranath Tagore, and Tagore’s stylistic imprint is felt in these poems. The poems are overwhelmingly of a mystic / spiritual nature. Kabir was non-sectarian but extremely oriented towards mystic belief. He references the Koran and Vedas alike, but is more likely to communicate in secular, if mystical, terms.
How much the godly emphasis works for the reader will vary greatly. For me it was a bit excessive, often reading more like prayers than poems, but your results may vary.
The only thing I found actually disturbing was the repeated romanticization of sati, a practice in use during Kabir’s lifetime in which widows would be burned alive on their husband’s funeral pyre. Kabir repeatedly writes of sati as if it was always a completely voluntary act of raw passion and connection and was never motivated by being old and destitute (not to mention being societally pressured or, even, physically forced into it.)
The poems are well composed and engaging, and if you can get past the periodic sati propaganda, it’s a pleasant, almost euphoric, read.
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“There Is a Bird in the Tree” by Kabir [w/ Audio]
On this tree is a bird:
It dances in the joy of life.
No one knows where it is:
And who knows what the burden
Of its music may be?
Where the branches throw a deep shade,
There does it have its nest:
And it comes in the evening
And flies away in the morning,
And says not a word
Of that which it means.
None tell me of this bird
That sings within me.
It is neither coloured nor colourless:
It has neither form nor outline:
It sits in the shadow of love.
It dwells within the Unattainable,
The Infinite, and the Eternal;
And no one marks
When it comes and goes.
Kabir says, “O brother Sadhu!
Deep is the mystery.
Let wise men seek to know
where rests that bird.”
NOTE: This is the translation by Rabindranath Tagore from the 1915 text, One Hundred Poems of Kabir. This is poem #30 (XXX) of that volume.
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“Placid” [Poetry Style #2] by Sikong Tu [w/ Audio]
It thrives in silence and with calm --
ephemeral and gossamer.
It's ever-flowing harmony,
gliding with a solitary crane,
wisping like the gentle breezes
that rustle and billow one's robe,
trilling softly like a bamboo flute.
How does one become one with it?
A chance meeting, lucked into, but
don't lunge forward, or it'll vanish.
When you think it's attainable,
it twists in your hand and is gone.
NOTE: The late Tang Dynasty poet, Sikong Tu (a.k.a. Ssŭ-k‘ung T‘u,) wrote an ars poetica entitled Twenty-Four Styles of Poetry. It presents twenty-four poems that are each in a different tone, reflecting varied concepts from Taoist philosophy and aesthetics. Above is a translation of the second of the twenty-four poems.
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“Written While Moored on the Qinhuai River” by Du Mu [w/ Audio]
Mist touches cold water and moon embraces the sand.
I’m moored for the night near a tavern on the Qinhuai.
The singing girl doesn’t know the empire is in bitter ruin.
Across the river I hear her singing “Blossom of the Inner Court.”
Translation: Barnstone, Tony and Ping, Chou. 2005. The Anchor Book of Chinese Poetry: From Ancient to Contemporary. New York: Anchor Books.
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Four Seasonal Haiku of Ryōkan [w/ Audio]
Spring
rainy days
make the monk Ryōkan
feel sad.
Summer
the moon in my window
is all the thief left behind.
Autumn
an autumn wind
chills the dangling persimmons,
and my testicles.
Winter
little birds have
gathered in the brushwood
on a snowy morn.
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Hanshan 131 [w/ Audio]
During thirty years since my birth
I've hiked thousands of miles,
seen green grass converging with a river
and red dust rising at the frontiers,
searched in vain for immortals and elixirs,
studying books and histories.
Today I've returned to Cold Mountain.
I lie back in a stream, washing out my ears.
Translation: Barnstone, Tony and Ping, Chou. 2005. The Anchor Book of Chinese Poetry: From Ancient to Contemporary. New York: Anchor Books.
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BOOKS: “The Flowers of Evil” by Charles Baudelaire
Les Fleurs du Mal by Charles BaudelaireMy rating: 5 of 5 stars
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I read the 1909 Cyril Scott translation of Baudelaire’s poetry collection. It consists of 54 poems, including “Condemned Women” but not including others of the six poems that were banned in early editions and which only came to be included in later editions. (I did look up and read a couple translations each for the six poems — because censorship can’t be allowed to prevail. Not surprisingly, they are calm by today’s standards. It should be noted that Baudelaire played in symbolism, and so his poems – while ahead of their time in subject matter – didn’t tend toward explicit vulgarity in the first place.)
The Scott translation is all in rhymed verse, the largest share of it presented as sonnets — though there are some longer pieces (longer, but not long. It’s a quick read.) “The Broken Bell” and “Spleen” were highlights for me, but the whole collection is intriguing, evocative, and readable.
I enjoyed this collection tremendously, even with such an old translation. The hedonism, eroticism, and macabre of Baudelaire’s work creates an intense tone.
I’d highly recommend this collection for all poetry readers.
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“Gitanjali 35” by Rabindranath Tagore [w/ Audio]
Where the mind is without fear and the head is held high;
Where knowledge is free;
Where the world has not been broken up into fragments by narrow domestic walls;
Where words come out from the depth of truth;
Where tireless striving stretches its arms towards perfection;
Where the clear stream of reason has not lost its way into the dreary desert sand of dead habit;
Where the mind is led forward by thee into ever-widening thought and action
Into that heave of freedom, my Father, let my country awake.
NOTE: This poem is often entitled “Let My Country Awake,” particularly when it is anthologized independently of the larger Gitanjali poem.
Tiger Riding for Beginners 