Monday, October 4, 2010

10: Du Fu - The Beautiful Woman

Max has evinced a desire to translate in the order of the Hengtang Hermit Edition (sometimes called the "Retired Master of Hengtang", and certainly deserving a post of its own), but, wild free spirit that I am, I have chosen instead to jump around. And so I present the tenth poem of the collection, by Du Fu:


010 杜甫: 佳人


绝代有佳人,幽居在空谷。

自云良家子,零落依草木。

关中昔丧乱,兄弟遭杀戮。

官高何足论,不得收骨肉。

世情恶衰歇,万事随转烛。

夫婿轻薄儿,新人美如玉。

合昏尚知时,鸳鸯不独宿。

但见新人笑,那闻旧人哭!

在山泉水清,出山泉水浊。

侍婢卖珠回,牵萝补茅屋。

摘花不插发,采柏动盈掬。

天寒翠袖薄,日暮倚修竹。


jiā rén


jué dài yǒu jiā rén, yōu jū zài kōng gǔ

zì yún liáng jiā zǐ, líng luò yī cǎo mù

guān zhōng xī sāng luàn, xiōng dì zāo shā lù

guān gāo hé zú lùn, bù dé shōu gǔ ròu

shì qíng è shuāi xiē, wàn shì suí zhuǎn zhú

fū xù qīng bó ér, xīn rén měi rú yù

hé hūn shàng zhī shí, yuān yāng bù dú sù

dàn jiàn xīn rén xiào, nǎ wén jiù rén kū

zài shān quán shuǐ qīng, chū shān quán shuǐ zhuó

shì bì mài zhū huí, qiān luó bǔ máo wū

zhāi huā bù chā fā, cǎi bǎi dòng yíng jū

tiān hán cuì xiù báo, rì mù yǐ xiū zhú


the beautiful woman


cut generation has beautiful people, secluded inhabit in empty valley

self say good family son/child, alone fallen rely grass wood

central plain former-times death chaos, brothers met-disaster killed massacred

official high how enough discuss, not worth gather bones flesh

world condition evil fall cease, ten-thousand things follow turn candle

man son-in-law light thin, new people beautiful like jade

unite dim(meet at night) still know time (the Time of Knowing), male(duck) female(duck) not alone sleep

only/but see new people laugh, that hear old people cry

in mountain pool water clear, leave mountain pool water muddy

servant maid sell pearl return, lead-on/pull vine mend thatch house

pluck flower not insert hair, gather cypress move full/surplus hold-with-both-hands

sky cold emerald sleeve thin, sun dusk lean-on slender bamboo

__


The Beautiful Woman


In generations long past, there was a beautiful woman who lived alone in an empty valley.

Quoth she:

"I, the child of a good family, am fallen

empty, to lean on grass and wood.

Of late the lands Between the Passes are beset by death and chaos,

brothers cursed to kill and to massacre.

Of those high officials what can be said? They could not

order even their own bones and flesh.

The mood of the world is evil, fallen, exhausted, and all

the Ten Thousand Things flicker and turn like candle flame.

My husband was weak and thin,

his new woman beautiful as jade.

They met at dusk in the Time of Knowing, before the flowers closed,

mated ducks who would not pass the night alone.

He only sees that new one, how can he

hear this old one cry?

In the mountains, spring-water is clear.

Leave the mountains, and such pools thicken with mud.

My maid has gone to sell my pearls, and she returns

trailing vines to mend my thatched hut.

I pluck flowers but do not bind them into my hair, I seek

for cypress to fill my hands and carry home.

The sky is cold and my emerald sleeves thin, and

as the sun dims I lean on a slender bamboo."

3 comments:

  1. This calamitous rebellion is clearly what I get for never posting about Taoism last week! Seriously, though, I see why you were so excited about posting this poem. I'm not used to Du Fu being this beautiful, maybe because I encountered him last so long ago.

    Poetically speaking, I'm intrigued by your use of enjambment. Enjambment is a great poetic technique in English, but the lines are so separate from one another in the original Chinese here that I'm not sure how I feel about its use here. I'd love to hear your thoughts on that - maybe fodder for a new post?

    Also, you owe the nice people a full gloss on 佳人 and 知时. Inquiring minds want to know!

    ReplyDelete
  2. I mean 绝代 of course, not 佳人. That's what I get for trying to post quickly!

    ReplyDelete
  3. 绝代, is deserving of a whole post all it's own I think, especially given what Prof. Kang had to say about it. Enjambment too, but I'll say a quick word about it right now to whet the whistle.

    The biggest problem in translating 五言 poetry into English, as I see it, is giving a sense of the structure. Rhythm and sound are related issues, to say nothing of the sheer meaning (especially difficult with the 知时, as you pointed out), but structure can seem like it's totally out of reach of the English translator. There is simply no way, save some serious avant garde 'one English word per character' stuff, to get at the structure with mere choice of words. Enter enjambment. What I've tried to do is give some sense of each five character phrase being a distinct unit by breaking my free verse into chunks that roughly correspond with the Chinese phrases, however roughly.

    ReplyDelete