This beautifully designed bilingual book is the first complete translation of the second volume of poetry by renowned Japanese poet Nakahara Chuya 1907 1937 Originally titled Arishi hi no uta, it is the second volume by the translator in a planned set of three that will comprise the complete poems of Nakahara Chuya This volume contains a lengthy introduction in which the translator, a scholar of Japanese poetry, provides an historical context for the poetry, as well as analyses of some of its aesthetic devices He also gives a compelling argument for his decision to use verse translations The full English translations are accompanied by the Japanese originals, complete with the original glosses for some of the obscure kanji characters This book will appeal to readers of world poetry and Japanese literature alike, and is an essential volume for any library Chuya is a cultural icon in his own country, with literally millions of readers, including the many students for whom he is a mandatory subject of study Although the poet is relatively obscure outside Japan, this new volume is certain to make great strides in correcting that imbalance....
|Title||:||Poems of Days Past (Arishi hi no uta)|
|Publisher||:||American Book Company July 15, 2005|
|Number of Pages||:||83 pages|
|File Size||:||581 KB|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Poems of Days Past (Arishi hi no uta) Reviews
Before I knew anything about Nakahara Chuya's poetry, I had heard comparisons - from those who know (though they are few), namely to Jim Morrison and Arthur Rimbaud, which of course goes well beyond mere poetry and delves into the personal lives of three very different poets from three extremely different lands living in three diametrically different time periods. But there is something which defines the similarities of Chuya to these other two western poetic figures (and the world of poetry), who are better well known, rather than the vast array of differences which would plague any early 20th century poet living in a country increasingly looking to prove its status to the world via aggressive means, a society not known for its public support of esoteric figures, nor a history of being an easily accessable territory for western eyes.
In addition to its attractive design, intelligent introduction, and helpful bilingual format, this book's translations move with graceful rhythms in finely rendered English. I applaud the translator's bold, and no doubt controversial, decision to commit to verse translations. One of the greatest pleasures of reading Chuya in the original Japanese is the richness of sound, from complex rhythms to other forms of structural repetition. Finally, we have translations that give precedence to this essential characteristic of Chuya's poetry, and I would say Beville is for the most part successful. I see that he has deployed a number of sound devices in English that don't correspond directly to the Japanese (when do translations ever correspond directly?), but nevertheless convey the aural beauty of the originals. Reading these, for me, is like rediscovering Chuya in English. New readers are fortunate to have a translation so true to the spirit of the original.
I have read so much haiku over the years that I was surprised to find a Japanese poet like this. It was quite refreshing. In some ways, it is like reading the European poets of the late 19th and early 20th century, since he uses some of the same techniques, but the Japanese tradition comes through as well, from the images to some of the subject matter-- there is that gasp of recognition and pleasure when you see stock themes and imagery from ancient haiku recast in more modern settings and poetic techniques. Chuya truly is a world poet.
By most accounts the most important poet of modern Japan, Nakahara Chuya remained largely untranslated until this, the second of two fine translations by Ry Beville. Any skepticism about translated poetry is soon vanquished as the unmistakable voice of Nakahara Chuya appears in powerfully rhythmic English.