A return to books, and thoughts on translations

I've been reading a lot lately, following the completion of my last class and a change of jobs. After being hired as managing editor of The Industry Standard at the beginning of the year, I decided I needed to brush up on the history of Silicon Valley and the first Web bubble, so I tackled The New New Thing, The Nudist On The Late Shift, and a history of The Industry Standard itself, Starving To Death on $200 Million. I also read The Search, by Industry Standard and Wired founder John Battelle, and the first half of a dry tome on UIs and GUIs entitled The Human Interface.

I read fiction, as well. Since I was a teenager I have been a fan of fantasy and science fiction, and re-read The Hobbit as well as a newer book by an old favorite -- The Knight, by Gene Wolfe. Historical fiction is another genre that I love to explore, and one that I sorely missed when I was deep into my thesis and had no time to read for pleasure. The Piano Tuner has been sitting on my shelf for at least two years, and I was pleased to finally pull it down and finish it in a few days. Last month when we were on vacation, I finished Thomas Harris' Imperium, which is a depiction of several episodes in the life of Cicero. It was interesting, yet disappointing. I had greatly enjoyed Harris' earlier book about ancient Rome, Pompeii, and loved watching the first season of Rome on DVD with my wife, but Imperium came across as too disjointed, and too focused on Cicero's Machiavellian conspiracies in the Late Republic. This was perhaps a result of Harris' desire to remain true to the historical record as it relates to Cicero's life. Unfortunately, many of the extant primary sources consist of Cicero's political and legal treatises -- hardly ideal fodder for a gripping piece of historical fiction.

There are two other books that I have also been reading at a far slower pace. Both relate to Chinese history. They are Anthology of Chinese Literature: From Early Times to the Fourteenth Century, edited by Cyril Birch, and Return to Dragon Mountain: Memories of a Late Ming Man, by Jonathan Spence.

These books aren't meant to be rushed, especially the anthology. The appeal of the two books ties into my studies here -- much of my coursework centered on ancient and modern Chinese history. Both of them contain beautiful English translations of ancient texts written in classical Chinese, and I have to appreciate the skill involved in bringing them to life. Classical Chinese carries a special set of challenges in terms of translation, that goes beyond simply knowing Chinese characters or reading modern prose. The following is an excerpt from one of my last school papers, written for Matthew Battles' history of publishing course, entitled "Written Chinese: An Elitist Script, or a Language of the Masses?" In it, I explain the nature of classical Chinese, and some of the difficulties related to understanding it:

The Zhou dynasty (1122 – 256 B.C.E.) saw the rise of several important Chinese religious and philosophical movements, including Confucianism, Daoism, and Legalism. These sophisticated concepts were recorded in a series of important texts using a spare writing style called wenyan wen (lit. “literary language,” or “patterned words”). In English, it is known as “classical Chinese,” in reference to the five Confucian classics. Owing to a lack of audio recordings or historical descriptions of common speech, it is uncertain how closely the vernacular and written matched during the Zhou dynasty, but by the Han dynasty (206 B.C.E. – 220 A.D.) spoken Chinese (baihua wen, or “unadorned speech”) had evolved to a considerably different state from written Chinese.

For this reason, classical Chinese was (and still is) difficult to read. While spoken Chinese contains numerous words made up of two or more syllables, most classical Chinese consisted of monosyllables, or single characters. Sparse passages tended to suggest meaning, as opposed to clearly (or precisely) describing it.

My source for this information was Richard J. Smith's China’s Cultural Heritage: The Qing Dynasty, 1644-1912, 2nd ed. (Boulder, CO: Westview Press, 1983). On page 105 was a very interesting comparison of a famous passage from the philosopher Mencius, written in both vernacular and classical Chinese. The vernacular version was 38 characters, compared to just 24 in the original classical text. My wife -- a native Chinese speaker who grew up with traditional characters and has been exposed to classical Chinese through her own education in Taiwan -- understood all of the characters in the original, but was unable to translate the passage itself when I showed it to her. When I showed her the passage written out in vernacular Chinese, "Ah!" -- she got it right away.

So, when I read the beautiful translations of essayist Zhang Dai's (张岱) autobiographical accounts in Spence's book, and especially the poetic renderings by Arthur Waley and Ezra Pound in the anthology, I not only had to appreciate their skills as translators, but also their talents as writers.

They may have even taken poetic license a little too far in some cases. Consider this poem by the Tang's Han Yu (韓愈), translated by A.C. Graham, and appearing on page 262 of the anthology:

The Withered Tree

Leaf and twig are gone from the old tree,
Winds and frosts can harm it no more.
Its hollow belly has room for a man,
Circling ants quest under its peeling bark.
Its single lodger, the toadstool which lives for a morning;
The birds no longer visit in the evening.
But its wood can still spark tinder.
It does not care yet to be only the void at its heart.

(There is a footnote at the end of the last line says "The phrase equates the hollow hear of the tree and the Void Mind of Buddhism, emptied of desire and illusion")

This is a stunning poem in English, but I have to wonder about the challenges of making an appealing translation while remaining true to the original Chinese literary devices and references. In my years of working as a journalist in Taiwan (often with translators, editors, and other native Mandarin and Taiwanese speakers) I found that it was very difficult to take a Chinese phrase that includes complex emotions, concepts, or artistic expressions, and turn it into natural-sounding English that conveyed an accurate sense of the original. Incorporating literary flair involved an extra dimension of complexity.

The footnotes and other explanations by Spence, Birch, and the others are very helpful in terms of putting these works in context. It would have been helpful to include some of the original Chinese, but I understand the technical and economic reasons for not doing so. While I can't read classical Chinese, I do know a few hundred characters, and it's fun to look up others in the dictionary or ask my wife about them.

(Below: Classical Chinese in cursive script by Wang Duo (王铎), who grew up in the late Ming era and painted this sample in the early Qing. From the University of Maine website, which was sourced from the Shanghai Museum)