J. P. Seaton on Burton Watson (1925 – 2017)

In honor of Burton Watson’s passing, I am collecting statements and memories from friends and fans, to be posted as they come in. The following comment is from translator J. P. Seaton:

Burton Watson is responsible for whatever good has or will come of my own work as a literary translator of Classical Chinese Literature. In 1962, about the time his career was taking off, I was as a senior in college, and along with my new wife (now of fifty-six years, Kathy Paradiso Seaton,) I left the excellent little men’s school Wabash College (where Ezra Pound taught for a little while a couple of generations earlier) so that Kathy could go back to school, and I could begin the study of Chinese language (not available at Wabash at that time). One semester into that project, living sometimes on fifteen dollars a week, I was ready to give up. Aside from Pound and Waley I had found nothing in translation that provided sufficient motivation to get me through the first stages of what was to become one of my favorite bits of weekly exercise, the memorization of new Chinese characters. (For any beginners reading this, it gets much easier and more rewarding the farther you go.) I was about to drop out of Chinese. Then I picked Prof. Watson’s Records of the Grand Historian (the book form of his Columbia dissertation as the book, and Ssu-ma Ch’ien as the historian) for the single term paper that would provide the whole grade for a required one hour historiography credit that actually was to decide whether or not I’d get the fellowship that would put Kathy and me through school. I loved Ssu-ma Ch’ien, I fell in love with Burton Watson and the legend that he’d done the translation while snowed-in all one winter in a cabin somewhere in Minnesota, (don’t tell me it’s not so!) and the professor in my 200-plus student class loved my paper. Of course, Harvard man or not, he’d never heard of Ssu-ma Ch’ien: that was before all but two of Watson’s forty-plus books had appeared. So, I got one of the first twelve of the National Defense Critical Languages’ Fellowships. So, simply put, I stayed with Chinese because of Burton Watson’s earliest translation.

Some time after I got tenure at UNC, Chapel Hill, around ’73, I got up the nerve to write Prof. Watson about a problem I was having with two lines of a quatrain by Tu Fu, and he was kind enough to send me an answer on a postcard… I have a treasured sample of his handwriting, but we had no more contact until after I reviewed his anthology, The Columbia Book of Chinese Poetry: from Early Times to the Thirteenth Century, for the scholarly journal CLEAR. It was a privilege, an honor, to be invited, and a joy to write. I’ve always hated “critics” and have refused to write reviews that were other than appreciations.

In the late ’80 I got the idea for a “translation issue,” a single issue dedicated entirely to translations of poetry from classical Chinese into poetry in the American language for the The Literary Review (pub. by Fairleigh Dickinson University,) where I had the usually honorary title of Advisory Editor. I was communicating a lot… old fashioned letters, OMG!) with the poet and publisher (Copper Canyon) Sam Hamill at the time, and he eventually wrote a nice little essay on the influence of Chinese poetry on 20th. cent. American poets. The scholar-translator Stephen Owen wrote another essay for the issue. Sam Hamill helped me contact several writers I didn’t know about, including the then barely known “Red Pine,” Bill Porter, but my idea was that everybody had to come on board, and I took on Gary Snyder, Jonathan Chaves, and finally, Burton Watson. I took on Watson first of these (to me) “big three,” because I hoped he might know something about my work, and/or he might have seen or at least have been told about my review of his anthology. We also had a couple of acquaintances in common, including, as I recall it, Carolyn Kizer, the Pulitzer Prize-winning poet who’d been writer-in-residence at Carolina during my earlier career, and Kenneth Hanson, the great poet, who taught English and translated Lin Ho-ch’ing and Han Yu at Reed College after studying there with both Kizer and Snyder (or so it seems to my flagging memory). Anyway, Watson’s response was swift, and so sweet, yes I said sweet, that he seemed to sense how difficult it was for an unknown J.P. Seaton to write asking for help with a fairly ridiculously naive or idealistic project. Even though he said in his first response that he didn’t think he had anything I’d want, I was emboldened to ask what he did have: kanshi, or Sino-Japanese, he said (poems written in classical Chinese by Japanese poets), and right now mostly “Dog poems,” as in poems about dogs. The poems he finally sent, all of which were printed in the Spring, 1989 Literary Review (Vol. 32, #3), are printed below.

I suspect that Prof. Watson’s name opened the door for Gary Snyder’s contributions. An original poem by Snyder that I mentioned liking when I wrote to him ended up, greatly appreciated by many readers, as the cover image for the issue, and Chaves, once Watson’s student at Columbia, was the last of more than thirty extremely talented, and well known, translators to join up. As a whole, I’ll claim there’s yet to be an anthology to match it, and I credit Burton Watson for creating the editor, as in me, and for bringing on board well known poet-translators whose presence made it easy for all those folks to come together in one place. I’d asked Walt Cummins, the editor of TLR, to see if he could find money to pay the translators, (fat chance we both thought) but with an NEA grant, Walt and TLR were able to pay twenty dollars per poem, and Prof. Watson got $160 to grace our pages with his work. I’ve never gotten paid anywhere else, other than for books, for a translation, and another of the translators wrote me the same thing. At the time I figured the few dollars wouldn’t be much but a gesture to most of the established folks who offered their work. I remember that Ursula Le Guin’s agent couldn’t even figure out where the little check meant for her actually came from, for six early versions from the Tao Te Ching that she later used in her version, published by Shambhala.

In 1990 it was my great good luck to be invited to write a cover blurb (behind  Gary Snyder, of course, and the Zen man Richard Aitken), for the lovely little book of Watson’s mostly autobiographical essays, The Rainbow World, published by the wonderful and sadly short-lived Broken Moon Press. I didn’t know anything about Burton Watson the man until I read this great little book. It’s offered for sale by several book sellers on-line today. I advise anyone who’s interested in Watson the man, or who’d like to see his prose (it’s easy going and always beautiful) when he’s not limited by the subject matter and language of the translation project, to get your hands on one.

When I read John Balcom’s interview with Prof. Watson, the lead article in the Translation Review (#70, 2005 (seems like yesterday) and heard from Balcom and our mutual friend Steve Bradbury that Watson wasn’t getting money of any kind from Columbia, and was actually translating whatever came to hand, including ads and pamphlets, just to get by, I screamed in a couple of people’s ears about getting him a MacArthur grant or a big money prize of some kind… he certainly deserved a Nobel for his service to the world of literature, and of history, and for providing the basic texts of Chinese and Japanese culture to the English readers of the world. I wished I had another $160 check to send him. But, from the Wikipedia biography that tells me all I know about Prof. Watson after 2005 it appears that something like that did happen… he published a couple of more Columbia University Press works after 2005, and also received a Gold Medal prize from a prestigious Japanese cultural organization that I trust was backed up with enough support for his final years to keep him from having to pawn that medal for the gold… I hope I hear from some folks who knew him more intimately that his last couple of years were lived with some of the ease and dignity that a benefactor of the world at large deserves, but maybe sometimes, often, fails to receive.

If there’s an afterlife I dream of listening to Watson explaining Chinese and Japanese languages and translation to Dryden, and comparing notes with his first literary loves Waley and Pound. If we’re most or all reincarnated, may the Heavenly Bureaucrats in charge of our re-assignments, (recalling Waley’s Monkey) with full consideration of our karmic impacts, give us a lifetime of closer contact: I’d gladly do a turn as his amenuensis, or graduate assistant. Hail and farewell to a great man: brilliant, hard working, generous and kind.

Burton Watson poems from The Literary Review, Spring 1989, special Chinese translation issue:

Chang Yueh: Written When Drunk
Once drunk, my delight knows no limits,
So much better than before I’m drunk.
My movements are all shaped like dances,
And everything I say comes out a poem!

Su Tung-P’o: Lotus viewing
The clear wind–what is it?

Something to be loved, not to be named.
Moving like a prince wherever it goes;
The grass and trees whisper its praise.
This outing of ours never had a purpose;
Let the lone boat swing about as it will.
In the middle of the current, lying face up,
I greet the breeze that happens along
And lift a cup to offer to the vastness;
How pleasant–that we have no thought for each other!
Coming back through two river valleys,
Clouds and water shine in the night.

Po Chu-I: A Question Addressed to Liu Shih-Chiu
Green bubbles—new brewed wine;

Lumps of red—a small stove for heating;
Evening comes and the sky threatens snow –
Could you drink a cup, I wonder?

Love Long-Enduring
In the ninth month when the west wind blows,

When moonlight is cold and dew blossoms congeal,
I think of you all the long autumn night—
In one night my spirit leaps up nine times.
In the second month when east winds appear,
When grasses sprout and the hearts of flowers unfold,
I think of you through the slow spring days—
One day and my heart takes nine turnings.
I live north of the Lo River bridge,
You live south of the Lo River bridge.
I’ve know you since I was fifteen;
This year I am twenty-three.
Like the dodder plant growing
By the side of the pine,
My tendrils are short, the branches much too high—
Twine and coil as I may, I cannot reach them.
They say when a person has a wish,
If the wish is worthy, Heaven is sure to grant it.
I wish we could be beasts in some faraway place,
Touching, twining limb around limb.

Spring Outing
I mount my horse, ready to go out the gate;

out the gate, pause in uncertainty,
sure she must be puzzled by all these spring outings.
I know I go on a lot of spring outings,
But what can an old fellow do,
When the ruddy face of youth is fading, fading,
And white hairs continue and continue to appear?
You have ten fingers—use them,
Make a count of my friends for me.
Sage age one hundred is the outside limit—
How many make it into their seventh decade?
Now I am sixty-five
And speeding downhill like a wheel on a slope.
Supposing I should last to seventy,
That leaves me only five springs more.
Faced with spring, not to go out and enjoy it,
One would have to be a fool!

Rokunyo: When My Beloved Japanese Spaniel Died
A traveler offered you for two thousand coins,

And I bought and raised you—just three years.
In cold and heat, hunger and thirst constantly you stood guard;
By instinct you knew your master, made friends with the servant boys,
spoke no words, yet we always knew your feelings.
You learned to tell regular visitors, jumped up in their laps,
but barked indignantly at a strange face—small use you had for them!
Toss a fruit, call your name, and off you’d race;
paws folded, you stood on your hind legs and begged.
You did the hop-skip, the crawl—I had only to command;
but tuckered out, asleep on your mat—then you were in heaven!
One morning, listless and weak, you fell over like a cart wheel;
At heart you knew there was no cure for the sickness.
A hundred coaxings with food or medicine—you refused them all,
You wagged your tail feebly, straining to lift your
head,trying to tell us humans the misery you were in.
Creatures of different species may learn to care for one another;
look on them as brothers and there’s none you can’t accept.
I wrapped the body in a worn-out mat, buried it in the temple plot,
raised a little grave mound, planted a wooden marker.
That night, returning, I thought he came out the door to greet me;
the tinkle of a bell struck my ear—wasn’t that his sound?
I felt so downcast I barely touched my supper,
Next day the whole day sat on my cushion in a daze.
High-minded people no doubt will scoff at such foolery,
but who knows?  These feelings ay be the start of Goodness.*

*A reference to the passage in Mencius, IIA, 6: “The heart of compassion is the start of Goodness”

Spotting Plum Blossoms by the Road
I start to pick them, stop my hand—

whose plum tree is this, poking over the fence?
No one would know, but still I’d be breaking the precepts—
in my breezy sleeve I steal off with a bit of the fragrance.

Winter Day: Scene on the Road to Otsu*
Boats and wagons from north and east converge at this port;

in all the coming and going I don’t see one person idle.
Most pitiful—on Meeting Slope slippery with ice and frost,
rice-bale carriers in thin robes, their bodies drenched in sweat.

*Otsu was an important port town at the southern end of Lake Biwa. Osaka or Meeting Slope is a steep incline on the main road between Otsu and Kyoto.

Contact me if you would like to add your own remembrance.

John Bradley on Burton Watson (1925 – 2017)

In honor of Burton Watson’s passing, I am collecting statements and memories from friends and fans, to be posted as they come in. The following remembrance is by John Bradley, from his review of Salutations; a Festschrift for Burton Watson (Ahadada / Ekleksographia, 2015), originally published in Rain Taxi #81 (21.1, Spring 2016):

Empty hills, no one in sight,
only the sound of someone talking;
late sunlight enters the deep wood,
shining over the green moss again.

This famous poem by Chinese poet Wang Wei displays the craft not only of the author but also—we all too often forget—of the translator. Burton Watson translated this poem with such craft that some may say “That’s it?” as indeed a student of Lucas Klein’s did, as he relates in his essay “Translation and Translucence in the Work of Burton Watson,” one of the offerings in this festschrift.

Watson certainly deserves acclaim for the quality and the breadth of his Asian translators. His works are much too long to list here, but a few titles will give an idea of his productivity: Cold Mountain: 100 Poems by the T’ang Poet Han-shan, The Selected Poems of Du Fu, and the Complete Works of Chuang Tzu. These are just a fraction of his translations from classical Chinese works. Some of his translation from classical and modern Japanese literature include: From the Country of Eight Islands: An Anthology of Japanese Poetry (collaborating with Hiroaki Sato), Ryokan: Zen Monk-Poet of Japan, and Saigyo: Poems of a Mountain Home.

Salutations offers seventeen contributions, each by a different writer, with some of the texts consisting of scholarly papers on Asian literature, and others offering personal reminiscences of Burton Watson or poems dedicated to him. The scholarly papers cover such topics as “a cultural history of Wenren,” which, as Victor H. Mair and Timothy Clifford explain, refers to a “literary man” (22). While these papers would have interest to Asian scholars, for the non-specialist the personal memories of encounters with Burton Watson are more engaging.

… Perhaps the best remedy will be to turn to one of Burton Watson’s many Asian translations and savor his skill.

Contact me if you would like to add your own remembrance.

Mazanec on Rouzer’s Hanshan Translations

Tom Mazanec has posted about Paul Rouzer’s new translation of Hanshan 寒山 (Cold Mountain) for de Gruyter’s Library of Chinese Humanities–now available for sale and free download.

As Tom notes, some of the Hanshan corpus was “famously translated by Gary Snyder in 1958 [and] later celebrated by Jack Kerouac in his hit novel The Dharma Bums,” which means this publication lacks the punch de Gruyter landed when publishing Stephen Owen’s complete Du Fu 杜甫:

there are already two complete translations of Hanshan out there, by Robert Henricks and Red Pine (personally, I’m fond of the latter), as well as multiple partial translations by such prominent translators as Arthur Waley, Burton Watson, Peter Hobson and T. H. Barrett, J. P. Seaton, and doubtless others. A close reading will show how these translations each contribute something different to our understanding of this poetic corpus, and this in itself is helpful for teaching and understanding Tang poetry.

Worth noting, though, is that Rouzer’s book also includes poems attributed to Hanshan’s companions, Shide 拾得 and Fenggan 豐干. At any rate,

It’s always good to have more translations of Tang poetry in other languages, and especially translations by someone as knowledgeable as Paul Rouzer … He’s a sensitive reader and a smooth writer, and I’m sure his translations are wonderful (I’ve yet to go through them with a close eye).

Tom also notes the forthcoming titles in the Library of Chinese Humanities, Robert Ashmore’s Li He 李賀 and Stephen Owen and Wendy Swartz’s translation of Ruan Ji  阮籍 and Xi Kang 嵇康.

Click the image above for the full write-up.

Klein on New Premodern Chinese Poetry Translations in LARB

2016-07-15_1030The Los Angeles Review of Books @lareviewofbooks has published “Tribunals of Erudition and Taste: or, Why Translations of Premodern Chinese Poetry Are Having a Moment Right Now,” my take on what looks like something of a resurgence in translation into English.

I use a nineteenth-century debate between Matthew Arnold and Francis Newman to frame a review of Chloe Garcia Roberts’s translation of Li Shangyin 李商隱, David Hinton’s translation of Wang An-shih 王安石, an anthology / travelogue by Red Pine (Bill Porter), and Stephen Owen’s translation of the complete Du Fu 杜甫, alongside Ira Nadel on Ezra Pound and the New Directions re-release of Ezra Pound’s Cathay (and mention of Gary Snyder, Bob Perelman, Paul Kroll, Eliot Weinberger, and more). Here’s how it ends:

The stakes of poetry translation from Chinese are indeed the stakes both of how we understand translation and how we in the English-speaking world understand China. Translation is neither simply a matter for scholars to judge, nor is it something that can be left to the unaccountable imaginings of revelers in poetry — any more than China should be something only specialists or tourists alone can pronounce upon. Rather, bringing expertise and excitement together, translation can help expand our conceptions of poetry and of China, demanding more from ourselves, and more from it. The contentiousness may remain, but it can motivate us to create new and better representations.

So will American poetry turn outward again, and in the process help redefine China as more than a strategic competitor, accused of currency manipulation by presidential candidates, or more than a polluted manufacturer to which we outsource abuses of human rights and labor? Will Chinese literature prove an old repository of poetic presentation from which the United States can both learn and create new beauty? Certainly larger historical and socioeconomic forces will determine the directions our poetry turns, but insofar as what we publish has any role, I see reasons for optimism — and in that optimism, a readiness to engage in the tensions of global and local that inhere in translation.

The recent poetry collections covered in this essay demonstrate a hunger for new ways of understanding and appreciating China, and more are coming soon … With these additions reaching new audiences, we may see premodern Chinese poetry making it new once again.

Click the image for the full article.

Tranter on China in Tranter

Australian poet John Tranter has published an essay titled “China: The influences of Eastern poetry and calligraphy,” in which:

A persuasive theory equates the English-language poets of the Elizabethan age (Shakespeare, Wyatt, Surrey, Sidney, Marlowe, Raleigh, Campion, and others) with the Chinese-language poets of the T’ang (or Tang) dynasty (618 to 907) which is often considered to be the Golden Age of Chinese poetry. Poets like Wang Wei, Tu Fu, Li Bai (or Li Po), and later poets like Su Shih, have in common with the Elizabethan poets and with many modern American poets that they were highly-educated and at the same time virtually unemployable. The emphasis on academic qualifications and the impossibility of attaining proper employment haunt these three eras: the Elizabethan Age, the Tang Period, and the modern American age.This means that many scholars from those three periods are highly trained in the various branches of rhetoric, yet afflicted with a world-view that is highly complex, negative, and painfully aware of the likelihood of unemployment.

And

The picture we in the west have of Li Bai is that of cheerful mastery through excess: he wrote millions of poems, threw most of them away, drank lots of alcohol and drowned on a drunken swim, trying to catch the reflection of the moon in the water. So legend has it.

Australians like poets who drink too much.

Click the link for the full article.

Owen’s Du Fu in the Harvard Gazette

The Harvard Gazette has run a write-up promoting Stephen Owen translates the poetry of Du FuStephen Owen’s complete Poetry of Du Fu: “A monumental undertaking (the prolific Du Fu left 1,400 extant poems), Owen spent nearly a decade working on the translation, which resulted in a 3,000-page, six-volume book that weighs in at nine pounds.”

Along with recordings of Owen reading some of this translations, the article also quotes Owen’s appreciation of the poet:

“He’s a quirky poet. When he moves to Chengdu with his family, he has to set up house and writes a poem to people asking for fruit trees and crockery. No one had ever done this kind of poem. He has a poem praising his bondservant Xinxing for repairing a water-piping system in his house … He’s forgotten what you can and can’t do in poetry, and 30 years later poets looked back and said, ‘This is the greatest poet we have,’” Owen said.

Here’s a recording of Owen reading his translation of “Having Been Thrown From My Horse While Drunk“:

Click the image for the article and to hear more.

Jenne on China’s Literary Lushes

 

“They feast and drink merrily despite no accompaniment of strings or flutes. When somebody wins a game or a match of chess, they mark up their scores with drink and raise a cheerful din sitting or standing. The guests are enjoying themselves. In their midst sits an elderly man with white hair, totally relaxed and at ease. That is the governor, already half drunk…The governor can share his enjoyment with others when he is in his cups, and sober again can write an essay about it. Who is this governor? He is Ouyang Xiu.”

In addition to Ouyang Xiu 歐陽修, the article mentions Confucius 孔子, Li Bai 李白, Du Fu 杜甫, and Lu Xun’s Kong Yiji 孔乙己.