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220  Separation on the River Kiang  {July 3rd } {(broad imp. tomb)}1 [黃 鶴 樓 送 孟 浩 然 之 廣 陵] Ko Kaku Ro So Mo Ko Zen Shi Ko Rio Yellow stork pavillion saying name of man going (to) name of place (name of land same as Yoshu) goodbye [Separation on the River Kiang]2 [1] [故 人 西 辭 黃 鶴 樓] Ko jin sei ji Ko Kaku ro Old acquaintance3 West leave An old acquaintance, starting from the West,4 takes leave of K.K.R. [Ko-Jin goes west from Ko-kaku-ro,]5 {Yang} [2] [煙 花 三 月 下 揚 州] En K{w}a san getsu Ka yo shu Smoke flowers6 3rd month go down name of Province7 In the month of March,8 when flowers (of blossoming trees) are smoky (blurry)/he descends (by river) to{wards} Yoshu [The smoke-flowers are blurred over the river.] [3] [孤 帆 遠 影 碧 空 盡] Ko han En yei heki ku jin Solitary sail far shadow9 blue sky10 terminate (If I look from the storied house at his boat) the distant shade/of the solitary sail is visible at the very extremity of the blue sky [His lone sail blots the far sky.] ⎫ ⎪ ⎪ ⎪ ⎬ ⎪ ⎪ ⎪ ⎭ ⎫ ⎪ ⎪ ⎬ ⎪ ⎪ ⎭ ⎫ ⎪ ⎪ ⎬ ⎪ ⎪ ⎭ ⎫ ⎪ ⎪ ⎪ ⎬ ⎪ ⎪ ⎪ ⎭ Separation on the River Kiang 221 [4] [唯 見 長 江 天 際 流] I ken cho Ko ten sei riu only see long Kiang heaven limit flow— River (And the moment after)//I only see the long River flowing into the horizon— //horizon means approximation to Korio11 [And now I see only the river, The long Kiang,12 reaching heaven.] Notes SEPARATION ON THE RIVER KIANG (101–4236, MF 3390:86v–87r, Pound’s #146; TSSC 6:22a; LTBQJ 2:734; 黃鶴樓送孟浩然之廣陵 [At the Yellow Crane Tower, Sending off Meng Haoran for Guangling]), by Li Bo. Heptasyllabic quatrain (qiyan jueju 七言絕句). With Mori & Ariga, July 3, 1900. Guangling was an old name for the city of Yangzhou in Jiangsu Province, located more than four hundred miles to the northeast of the Yellow Crane Tower in Wuchang, now a part of the modern city of Wuhan in Hubei province. According to a local legend recorded in the early 6th century, a Daoist immortal named Wang Zi’an 王子安 is said to have flown away from that spot on the back of a yellow crane. (See line A5 of “The River Song.”) Meng Haoran 孟浩然 (689–740) was one of the most important poets of the Tang Dynasty whose work was much admired by his contemporaries including Li Bo, Du Fu, and Wang Wei. This poem is one of two that Li wrote for Meng that were collected in the highly influential 18th -century anthology Tangshi sanbai shou 唐詩三百首 (Three Hundred Tang Poems); the other is a poem of high praise for his friend late in life calling him a “high mountain” which Li Bo himself could never hope to equal, one that spread its fragrance far and wide (LTBQJ 1:461). The (reconstructed) Yellow Crane Tower in Wuhan is associated with these famous verses. For the poetic history of the tower, see “The City of Choan.” Neither of the couplets in the “quatrain” is parallel; for more on the form, see “Four Poems of Departure: Light rain is on the light dust.” This poem appears in TSX. 222 Cribs for Cathay & Other Poems 1. broad imp. tomb: This additional gloss gives the literal meanings of the characters in the name: guang 廣 (broad) and ling 陵 (imperial tomb, esp. the mound). 2. SeparationontheRiverKiang: Pound created a new title for this poem by taking “Kiang/River” in the last line as the name of the river instead of as the Chinese word for “river,” resulting in a phrase something like “River River.” Fenollosa’s habit of capitalizing his initial k surely aided in the misprision. “River Kiang” also feels like a concocted calque or perhaps an archaism, since “River” is not put before the name of a river in Chinese any more than it is in (modern American) English—no “River Missouri,” but only “River Thames,” “River Severn,” and the rest. See line 7 of “The River Merchant’s Wife.” 3. Ko-jin: guren 故人 (dear friend, old friend). Mori & Ariga’s “old acquaintance” misrepresents the closeness of the term. Pound gives this compound as if it were a proper name, but he renders it as “friends” in “Light rain is on the light dust” and as “old acquaintances” in “Taking Leave of a Friend.” Hugh Kenner thought Pound used the proper name “with eyes open” in order to avoid starting the poem with “so bleak a periphrasis as ‘old acquaintance,’” but it might also have been for the sake of variety , and it is equally possible that he...


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