Classic 1941 Ancient 600-1400AD Tang China 170 Poems Famed Watercolor Paintings

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Seller: ancientgifts (4,520) 100%, Location: Lummi Island, Washington, Ships to: Worldwide, Item: 381942455383 ”Translations From The Chinese” by Arthur Waley Illustrated by Cyrus Le Roy Baldridge. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Hardcover with dustjacket. Publisher: Knopf (1941). Pages: 345. Size: 11¼ x 7½ x 1¾ inches; 3¼ pounds. Summary: --> Waley's seminal book, “Translations from the Chinese”, is one of the all-time great classics. Originally published as "One Hundred and Seventy Chinese Poems”, the brilliant translations from an almost unknown literature--at the time--had such an explosive effect that they actually changed the course of English literature. Waley was perhaps the greatest genius who has ever studied both Chinese and Japanese. These ancient poems (7th to 14th century) are by the greatest Chinese poets and unlike almost all other anthologies, are translated so beautifully that the English is great poetry too. Incredibly beautiful, sensitive, full-color, full-page watercolor paintings as well as many drawings. Paper stock "patterned after old papers of the Orient". Anthology including special section of poems by Po Chu-i. CONDITION: POOR. Lightly read hardcover in facsimile dustjacket. Knopf (1941) 345 pages. Book appears to have been flipped through a few times. There's virtually no reading wear beyond about page 10. At worst it was read once by someone with a very "gentle touch". However based on our examination, it appears most likely someone flipped through the book a few times admiring the paintings, then but the book away, basically unread, never to take the book back off the shelf and actually read it through. Inside the pages are clean, crisp, unmarked, unmutilated, remain well bound, and evidence only very light browsing/reading wear. Full-color, full-page water color paintings and drawings by famed illustrator Cyrus Le Roy Baldridge in wonderful condition. However the end papers (the underside of the front and back covers, and the first and last pages in the book facing the end papers) show some tan colored age spotting, and all the pages within the book are faintly age yellowed at the extremities. The outside of the book however is not as nice. The first matter to note is that the book originally was published with a black-colored slip sleeve. It was not published with a dustjacket, and it did not come to us with the original slip sleeve (they were lower-quality cardboard slip sleeves and as the years went by they often fell apart and were often discarded). However so as to protect the cloth covers, we "manufactured" a facsimile dustjacket printed on high-gloss photographic quality paper, enclosed in a mylar cover. It's very durable. Beneath our facsimile dustjacket the full cloth covers have a few "issues", having not been protected by a slipsleeve or dustjacket, presumably for decades. The orange-colored cloth covers show heavy soiling, and the spine of the book is very heavily light-darkened and soiled. The spine of the book would not have been covered by the slip sleeve, and so is badly light darkened. Also, the cloth at the top inch of both side of the spine head were split. We repaired the splits, greatly minimizing the prominence of this blemish, but close inspection will clearly recognize a repair. Of course all of the preceding is only seen when the dustjacket is removed, otherwise the outward appearance of the book is reasonably nice. However we would also note that the surfaces of the closed page edges of the book, top, bottom, and fore, show considerably soiling, and a new dustjacket is not going to hide that soiling. Given this litany of exterior blemishes the book certainly lacks the "sex appeal" of a "shelf trophy". Nonetheless for those not concerned with whether the book will or will not enhance their social status or intellectual reputation, the inside of the book is very clean, and the book itself bears evidence of only being flipped through a few times. It is at worst lightly read, probably essentially unread. So though cosmetically impaired, it is clean, and with care should have "lots of miles left under the hood". Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 14 days! #355g. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: IN the preface to Mr. Waley's volume of translations there is a remark to the effect that no reviewer treated his book “170 Chinese Poems,” as an experiment in English unrhymed verse, though this was the aspect of it which most interested the writer. This remark is perfectly just. No one did treat Mr. Waley's earlier translations as examples of unrhymed versification. We, with our Occidental eyes, are so dazzled with the substance of Chinese poetry, as Mr. Waley has revealed it to us, the seemingly 'pellucid simplicity concealing great depths of feeling, as not to ask ourselves the question of how it is done. Mr. Waley may be excused his irritation at our blindness in this respect. For he has evolved a metre and style which show, in so far as one language can show the structure of another, exactly how the Chinese poets worked. And as the Chinese poets themselves undoubtedly set higher value on technique than on subject-matter, it is certainly necessary to analyze the technique of these translations, in order to understand one reason for the strange charm of Chinese poetry. Chinese poetry is based on a parallelism of thought and of substance. Even in its early examples, this parallelism is crudely manifest. This parallelism runs in fact not only through Chinese poetry but Chinese philosophy and religion. It corresponds to a deep-seated instinct in the Oriental mind. We Occidentals, when we make buildings, pictures, poems, music, or philosophic systems, seek to vary; the Oriental seeks to repeat. It is as if he could not create a form, a sound, a thought, without creating also its echo. For this reason, Chinese poetry is without climax; for this reason also (much like Chinese painting) it compensates for absence of climax by sheer breadth of handling. As Mr. Waley in the introduction to his first book of translations pointed out, this parallelism did not come to birth all at once. Indeed, the Chinese critics themselves have recognized two species of poetry—poetry written in the Old Style (Ku-shih), which lasted up to the fourth century A.D., and poetry written in the New Style (Lu-shih—or "strictly regulated"), which gradually evolved from the fourth to the eighth centuries A.D., reaching its culmination in the works of T'ang poets, who are, by common consent, the great masters of the art of Chinese Poetry. And since it is largely these T'ang poets whom Mr. Waley has chosen to translate, it is quite evident that, for the most part, his translations reproduce, so far as possible, the forms of this "new" or strictly regulated style. REVIEW: Collection of poems by various ancient 7th to 14th century Chinese poets. Chinese poetry has a fixed number of syllables, rhyme is obligatory, and it strongly resembles traditional English verse. Some of the Chinese poets are Sung Yu, Hsi-chun, Wu-ti, Mei Sheng and Fu I, Pao Chao, Emperor Ch'ien Wen-ti, and Ts'ao Chih. Beautifully illustrated. REVIEW: As one recent evaluation puts it, "Waley was the great transmitter of the high literary cultures of China and Japan to the English-reading general public; the ambassador from East to West in the first half of the 20th century. He was self-taught, but reached remarkable levels of fluency, even erudition, in both languages. It was a unique achievement, possible (as he himself later noted) only in that time, and unlikely to be repeated." His importance for raising awareness and scholarly attention to the English speaking world is considered immense, reaching a wider popular readership with later re-publications in classics series. REVIEW: Arthur David Waley (born Arthur David Schloss, 19 August 1889 – 27 June 1966) was an English Orientalist and sinologist who achieved both popular and scholarly acclaim for his translations of Chinese and Japanese poetry. Among his honours were the CBE in 1952, the Queen's Gold Medal for Poetry in 1953, and he was made Companion of Honor in 1956. Although highly learned, Waley avoided academic posts and most often wrote for a general audience. He chose not to be a specialist but to translate a wide and personal range of classical literature. Starting in the 1910s and continuing steadily almost until his death in 1966, these translations started with poetry, such as A Hundred and Seventy Chinese Poems (1918) and Japanese Poetry: The Uta (1919), then an equally wide range of novels, such as The Tale of Genji (1925–26), an 11th-century Japanese work, and Monkey, from 16th-century China. Waley also presented and translated Chinese philosophy, wrote biographies of literary figures, and maintained a lifelong interest in both Asian and Western painting. A recent evaluation called Waley "the great transmitter of the high literary cultures of China and Japan to the English-reading general public; the ambassador from East to West in the first half of the 20th century," and went on to say that he was "self-taught, but reached remarkable levels of fluency, even erudition, in both languages. It was a unique achievement, possible (as he himself later noted) only in that time, and unlikely to be repeated." REVIEW: Arthur David Waley, original name Arthur David Schloss (August 19, 1889 – June 27, 1966), was a noted English Orientalist and Sinologist, and is still considered one of the world's great Asian scholars. During the first half of the twentieth century, his translations introduced the best of Chinese and Japanese literature and poetry to English-reading audiences. His many translations include A Hundred and Seventy Chinese Poems (1918), Japanese Poetry: The Uta (1919), The Tale of Genji (published in six volumes from 1921-33), The Pillow Book of Sei Shonagon (1928), and Monkey (1942, an abridged version of Journey to the West). Waley was self-taught in both Chinese and Japanese and achieved a remarkable degree of fluency and erudition. He never visited Asia. His translations of Chinese and Japanese literary classics into English had a profound effect on such modern poets as W.B. Yeats and Ezra Pound. His translations of the classics, the Analects of Confucius and The Way and its Power (Tao Te Ching) introduced Asian philosophical concepts to European and American thinkers. Waley’s scholarship was recognized with an Honorary Fellowship at King's College, Cambridge, 1945, and an Honorary Lectureship in Chinese Poetry at the School of Oriental Studies (London, 1948). He received the Commander of the Order of the British Empire (CBE) in 1952, the Queen's Medal for Poetry in 1953, and in 1956, the Order of the Companions of Honour. The Japanese government awarded him the Order of Merit of the Second Treasure for his services in making Japanese literature known and appreciated in the Western world. REVIEW: TABLE OF CONTENTS: Introduction. The Limitations of Chinese Literature. Technique. The Method of Translation. Bibliographical Notes. Chapter One: Battle. The Man-Wind and the Woman-Wind. Master Tēng-t'u. The Orphan. The Sick Wife. Cock-Crow Song. The Golden Palace. "Old Poem". Meeting in the Road. Fighting South of the Castle. The Eastern Gate. Old and New. South of the Great Sea. The Other Side of the Valley. Oaths of Friendship. Burial Songs. Seventeen Old Poems. The Autumn Wind. Li Fu-jēn. Song of Snow-white Heads. To his Wife. Li Ling. Lament of Hsi-chün. Ch'in Chia. Ch'in Chia's Wife's Reply. Song. Chapter Two: Satire on Paying Calls in August. On the Death of his Father. The Campaign against Wu. The Ruins of Lo-yang. The Cock-fight. A Vision. The Curtain of the Wedding Bed. Regret. Taoist Song. A Gentle Wind. Woman. Day Dreams. The Scholar in the Narrow Street. The Desecration of the Han Tombs. Bearer's Song. The Valley Wind. Chapter Three: Poems by T'ao Ch'ien. Chapter Four: Inviting Guests. Climbing a Mountain. Sailing Homeward. Five "Tzǔ-yeh" Songs. The Little Lady of Ch'ing-hsi. Plucking the Rushes. Ballad of the Western Island in the North Country. Song. Song of the Men of Chin-ling. The Scholar Recruit. The Red Hills. Dreaming of a Dead Lady. The Liberator. Lo-yang. Winter Night. The Rejected Wife. People hide their Love. The Ferry. The Waters of Lung-t'ou. Flowers and Moonlight on the Spring River. Tchirek Song. Chapter Five: Business Men. Tell me now. On Going to a Tavern. Stone Fish Lake. Civilization. A Protest in the Sixth Year of Ch'ien Fu. On the Birth of his Son. The Peddler of Spells. Boating in Autumn. The Herd-Boy. How I sailed on the Lake till I came to the Eastern Stream. A Seventeenth-century Chinese Poem. The Little Cart. PART II Introduction. By Po Chü-i: An Early Levée. Being on Duty all night in the Palace and dreaming of the Hsien-yu Temple. Passing T'ien-mēn Street in Ch'ang-an and seeing a distant View of Chung-nan Mountain. The Letter. Rejoicing at the Arrival of Ch'ēn Hsiung. Golden Bells. Remembering Golden Bells. Illness. The Dragon of the Black Pool. The Grain-tribute. The People of Tao-chou. The Old Harp. The Harper of Chao. The Flower Market. The Prisoner. The Chancellor's Gravel-drive. The Man who Dreamed of Fairies. Magic. The Two Red Towers. The Charcoal-seller. The Politician. The Old Man with the Broken Arm. Kept waiting in the Boat at Chiu-k'ou Ten Days by an Adverse Wind. On Board Ship: Reading Yüan Chēn's Poems. Arriving at Hsün-yang. Madly Singing in the Mountains. Releasing a migrant "Yen" (Wild Goose). To a Portrait Painter who Desired Him to Sit. Separation. Having Climbed to the Topmost Peak of the Incense-Burner Mountain. Eating Bamboo-shoots. The Red Cockatoo. After Lunch. Alarm at first entering the Yang-tze Gorges. On being removed from Hsün-yang and sent to Chung-chou. Planting Flowers on the Eastern Embankment. Children. Pruning Trees. Being visited by a Friend during Illness. On the way to Hangchow: Anchored on the River at Night. Stopping the Night at Jung-yang. The Silver Spoon. The Hat given to the Poet by Li Chien. The Big Rug. After getting Drunk, becoming Sober in the Night. Realizing the Futility of Life. Rising Late and Playing with A-ts'ui, aged Two. On a Box containing his own Works. On being Sixty. Climbing the Terrace of Kuan-yin and looking at the City. Climbing the Ling Ying Terrace and looking North. Going to the Mountains with a little Dancing Girl, aged Fifteen. Dreaming of Yüan Chēn. A Dream of Mountaineering. Ease. On hearing someone sing a Poem by Yüan Chēn. The Philosophers. Taoism and Buddhism. Last Poem. PROFESSIONAL REVIEWS: REVIEW: There are one or two questions which readers of ancient Chinese poetry, translated into another language, are bound to ask. Is it really at all like our poetry? Does it scan, does it rhyme? The answer to these questions is that (compared, for example, with Japanese poetry) Chinese traditional poetry is very similar to ours. Its lines have a fixed number of syllables and rhyme is obligatory; so that old Chinese poetry strongly resembles traditional English verse, and is not at all like the free verse of Europe and America today. A handsome reprint for American readers of the author's translations of 7th to 14th century Chinese poetry and stories, first authored in 1918-19, and here somewhat revised. As has often been pointed out these verse translations are the gold standard of the translator's art, standing quite by themselves as marvelous English in addition to validly transcribed ancient poetic forms. The centerpiece is approximately 108 poems by Po Chu-I, to whom Waley obviously had a strong affinity, but here are burial songs, oaths of friendship, and a children's song, in addition to works by other poets. 327 pages with color illustrations. With very few exceptions the poems in this book are by poets whom the Chinese themselves have always admired. Good insight into Chinese poetry. REVIEW: Those who wish to assure themselves that they will lose nothing by ignoring Chinese literature, often ask the question: “Have the Chinese a Homer, an Aeschylus, a Shakespeare or Tolstoy?” The answer must be that China has no epic and no dramatic literature of importance. The novel exists and has merits, but never became the instrument of great writers. Her philosophic literature knows no mean between the traditionalism of Confucius and the nihilism of Chuang-tzu. In mind, as in body, the Chinese were for the most part torpid mainlanders. Their thoughts set out on no strange quests and adventures, just as their ships discovered no new continents. To most Europeans the momentary flash of Athenian questioning will seem worth more than all the centuries of Chinese assent. Yet we must recognize that for thousands of years the Chinese maintained a level of rationality and tolerance that the West might well envy. They had no Index, no Inquisition, no Holy Wars. Superstition has indeed played its part among them; but it has never, as in Europe, been perpetually dominant. It follows from the limitations of Chinese thought that the literature of the country should excel in reflection rather than in speculation. That this is particularly true of its poetry will be gauged from the present volume. In the poems of Po Chü-i no close reasoning or philosophic subtlety will be discovered; but a power of candid reflection and self-analysis which has not been rivaled in the West. Turning from thought to emotion, the most conspicuous feature of European poetry is its pre-occupation with love. This is apparent not only in actual “love-poems,” but in all poetry where the personality of the writer is in any way obtruded. The poet tends to exhibit himself in a romantic light; in fact, to recommend himself as a lover. The Chinese poet has a tendency different but analogous. He recommends himself not as a lover, but as a friend. He poses as a person of infinite leisure (which is what we should most like our friends to possess) and free from worldly ambitions (which constitute the greatest bars to friendship). He would have us think of him as a boon companion, a great drinker of wine, who will not disgrace a social gathering by quitting it sober. To the European poet the relation between man and woman is a thing of supreme importance and mystery. To the Chinese, it is something commonplace, obvious—a need of the body, not a satisfaction of the emotions. These he reserves entirely for friendship. Accordingly we find that while our poets tend to lay stress on physical courage and other qualities which normal women admire, Po Chu-i is not ashamed to write such a poem as “Alarm at entering the Gorges.” Our poets imagine themselves very much as Art has portrayed them—bare-headed and wild-eyed, with shirts unbuttoned at the neck as though they feared that a seizure of emotion might at any minute suffocate them. The Chinese poet introduces himself as a timid recluse, “Reading the Book of Changes at the Northern Window,” playing chess with a Taoist priest, or practicing calligraphy with an occasional visitor. If “With a Portrait of the Author” had been the rule in the Chinese book-market, it is in such occupations as these that he would be shown; a neat and tranquil figure compared with our lurid frontispieces. The ‘macho man’ myth never took hold with the Chinese. READER REVIEWS: REVIEW: The most conspicuous feature of European poetry is its preoccupation with love. This is apparent not only in actual 'love-poems, ' but in all poetry where the personality of the writer is in any way obtruded. The poet tends to exhibit himself in a romantic light; in fact, to recommend himself as a lover. The Chinese poet has a tendency different but analogous. He recommends himself not as a lover, but as a friend. To the European poet the relation between man and woman is a thing of supreme importance and mystery. To the average Chinese poet it is something commonplace, obvious--a need of the body, not a satisfaction of the emotions. These he reserves entirely for friendship. I have been criticized for saying something like this; but the vast amount of Chinese poetry amply confirms my view. Our classical poets imagine themselves very much as Art has portrayed them--bare-headed, wild-eyed, with shirts unbuttoned at the neck as though they feared that a seizure of emotion might at any minute suffocate them, The Chinese poet tends to introduce himself as a timid recluse, 'Reading the Book of Changes at the Northern Window, ' playing chess with a Taoist priest, or practicing calligraphy with an occasional visitor. I do not mean to say that the gentle and reflective attitude traditional in Chinese poetry in any way gives us a key to the whole of Chinese life. Martial vigor, administrative ability, romantic love, all play their part; but in the whole bulk of classical poetry, say from the seventh to the fourteenth century, how minute a proportion for a moment touches any of these themes! REVIEW: Having stumbled upon a well-worn copy of this book purely by chance during my initial absorption of Japanese and Chinese 19th century and earlier cultural works, I was delighted to discover this edition's (1941) presentation to be an artistically crafted bookbinding effort as well. Other reviewers have sung the praises of it's content to which I wholeheartedly agree and won't attempt to improve upon; but I would like to further promote the sheer beauty of this edition--for those with an appreciation for printing and illustration quality AND a love for classical Chinese poetry will find themselves over-the-top in this book and enjoying a rare experience. By way of the best explanation and reason for my impression, I give you the note from the back matter as testimonial: "This volume, illustrated and decorated by Cyrus LeRoy Baldridge, was planned by Richard Ellis and produced under his direction. It was composed in a special Monotype cutting of Frederic W. Goudy's Deepdene type made for this edition, with swash letters and revised characters designed by Mr Ellis and with the approval of Mr Goudy. The paper, patterned after old papers of the orient, was manufactured by the P.H. Glatfelter Company, Spring Grove, Pennsylvania. The full-color illustrations were reproduced in Similetone by the Zeese-Wilkinson Company, Long Island City, New York. The cloth, in a natural finish, was made by Bancroft Mills, Wilmington, Delaware. The Composition, Electrotyping, Printing and Binding were by The Haddon Craftsmen, Camden, New Jersey." This book is a feast for the eyes and fingers as well as for the heart...do not hesitate to seize a copy if an opportunity presents itself! REVIEW: In this collection of ancient Chinese poems, mostly written by Po Chu-i (772-846 AD), 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 exiled 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. REVIEW: Waley, who was one of the great Sinologists of the twentieth century, translated a wide variety of Eastern works but is perhaps best known for his translations of Chinese poetry. His “170 Chinese Poems”, a book which contains, among other riches, the marvelous poems of T'ao Ch'ien, Po Chu-I, and Wang Wei, has been reissued many times. And although we have seen other very fine translations of Chinese poetry from writers as diverse as A. C. Graham, Kenneth Rexroth, and Gary Snyder, none of them have had the impact of Waley. Chinese poetry, for many, is and always will mean Arthur Waley. His influence has been enormous. I would attribute his success to two things. In the first place, there is the very special quality of his English, a quality impossible to describe. In the second place, Waley was a master at evoking an atmosphere, a feeling tone, that strikes one as authentically Chinese. So good was he at this that one sometimes gets the feeling, as one does when reading the poems of that other remarkable and far greater genius, the poet Emily Dickinson, a woman whose mind also had a very Chinese cast, that they must have been Chinese souls who had somehow strayed and ended up reincarnating in Western bodies. My remark about Emily Dickinson's 'Chinese-ness' may raise some eyebrows. Perhaps it takes a certain amount of exposure to Eastern culture, particularly to Buddhist thought, to see this quality in her, but I find it everywhere. I find it, for example, in lines such as these, slightly adjusted since they should be set out as poetry : "I cross till I am weary / A Mountain - in my mind - / More Mountains - then a Sea - / More Seas - And then / A Desert find -" REVIEW: 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. 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. There is a quiet, wind-creaking beauty to these poems, making them well worth reading. I recommend this to all readers. REVIEW: Arthur Waley is the most famous Sinologist this century, the man (other than Ezra Pound) who has done most in bringing Chinese poetry to the fore of Western public. Hence, no matter what, Waley's historical importance cannot be overestimated. And he is a competent all-round translator too, as this fine anthology demonstrates, one who has an uncanny ear of transforming Chinese rhythms and rhymes into naturalized English metrics. His favorite poet Po Chu-I Waley translates very well. Here is when his obvious talent in phrasing tastefully does the poet justice. Elsewhere, even if Waley can be faulted here and there, he is still very close lexically to the original. To conclude, Waley's anthology is worth getting, especially if you enjoy his translations. REVIEW: Kenneth Rexroth cited this book of translations in his "One Hundred Poems from the Chinese" as among a handful that are outstanding sources for those interested in Chinese poetry. I love the directness of the old Chinese poets, particularly their simplicity and accessibility -- at least as they have been translated today by people such as Rexroth. Those same qualities can be found in Waley's translations, where they have a seductively "commonplace" feel that both belies and accentuates their delicacy. What I hadn't been prepared for, however, were Waley's introductory essays which were, like the poetry he translated, direct and unpretentious and so wonderfully informative. Waley was one of the very first Westerners to undertake translations of ancient Chinese poetry, so, quite apart from the beauty of his work, he also holds an important position historically. This particular volume was first published in 1919. A very easy and sumptuous read. REVIEW: This volume is essentially, One Hundred and Seventy Chinese Poems, which has been in continuous print since 1918 (also available from Kindle), but it has a few more poems and questionable illustrations. The poems great and universal, and translated with no forced meter or rhyme! I have enjoyed reading and rereading them for many years. This is a large volume (10.7 X 7.2) printed on excellent quality heavy paper, but the slipcase usually falls apart. REVIEW: In this book you will find ancient Chinese poems that were translated early in the 20th century. 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’s, and you realize how advanced in the social system they were at that era. WOW. REVIEW: I am very glad to see that this volume is still in print. It was first printed in London in 1918 and has been reprinted ever since. I have a very small hardcover published in 1947 (Constable and Co.,Ltd), and a large volume (Translations from the Chinese, published by Alfred A Knopf, New York, 1941) with a slipcase and illustrations, and a few more poems. I enjoy reading and rereading the selection of poems which are so very universally human, and I am very glad that they are not translated into a twisted English for a forced rhyme! REVIEW: 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. REVIEW: Books of poetry are very personal things. I am forever amazed at poets who can create the image of an entire world with only a few words. Among other great poets, this book offered my first meeting with Po Chu-I. For more than 25 years now, he has continued to remind me of the beauty of life and this world. In my opinion, this book is priceless. REVIEW: This book has been around a long time. It covers a high range of time and content of traditional Chinese poetry. In the original format, the calligraphy adds an extra element to the beauty of the poem. An untranslated Chinese poem is both a work of graphic art and literary art. This book cannot be that, but it has charming drawings to illustrate some of the poems, which makes it an incredible bargain – the watercolors printed on high quality paper are worth the price alone! REVIEW: There are a few poems in 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. REVIEW: Five stars! Ancient Chinese court poetry and a few stories. Fascinating. REVIEW: Great achievement for its time, bringing these beautiful works to the west REVIEW: This is a fabulous translation of selections from classical Chinese literature, mostly poetry. Once a selection of the Book of the Month Club. REVIEW: How can this book be out of print? Fabulous translations. Stunning watercolors. REVIEW: I dream of writing so eloquently with so few words! Beautiful! I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). All domestic shipments and most international shipments will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site) and free insurance coverage. A small percentage of international shipments may require an additional fee for tracking and/or delivery confirmation. If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. Most international orders cost an additional $12.99 to $33.99 for an insured shipment in a heavily padded mailer, and typically includes some form of rudimentary tracking and/or delivery confirmation (though for some countries, this is only available at additional cost). There is also a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Rates and available services vary a bit from country to country. You can email or message me for a shipping cost quote, but I assure you they are as reasonable as USPS rates allow, and if it turns out the rate is too high for your pocketbook, we will cancel the sale at your request. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. We package as well as anyone in the business, with lots of protective padding and containers. All of our shipments are sent via insured mail so as to comply with PayPal requirements. We do NOT recommend uninsured shipments, and expressly disclaim any responsibility for the loss of an uninsured shipment. Unfortunately the contents of parcels are easily “lost” or misdelivered by postal employees – even in the USA. That’s why all of our domestic shipments (and most international) shipments include a USPS delivery confirmation tag; or are trackable or traceable, and all shipments (international and domestic) are insured. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. We will accept whatever payment method you are most comfortable with. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE." TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Condition: ”Translations From The Chinese” by Arthur Waley Illustrated by Cyrus Le Roy Baldridge, Material: Paper, Provenance: Ancient China

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