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243  South-Folk in Cold Country  Another Kofu1 6th [South-Folk in Cold Country] [1] [代 馬 不 思 越] Dai ba fu shi etsu place horse not think of Etsu (in North) in the South The horses of Dai, tho taken to Etsu, care nothing for Etsu. [The Dai horse neighs against the bleak wind of Etsu,] [The Dai horse, from the south, neighs against the north wind,] [2] [越 禽 不 戀 燕] Etsu kin fu ren yen Etsu’s birds not love En, a north region6 So the Etsu birds have no love for an alien En. [The birds of Etsu have no love for En, in the north,] [3] [情 性 有 所 習] Jo sei yu sho shu emotion nature have that which habitual is Human emotions and natures have {are} things that spring from habit [Emotion is born out of habit.] [Emotion is of habit.] 244 Cribs for Cathay & Other Poems [4] [土 風 固 其 然] Do fu Kŏ Ki zen local manners of that (ly) adj. ending (earth) (wind) course so— The powers {powers} which local manners have on one’s mind are/necessarily thus [39] [5] [昔 別 雁 門 關] Seki betsu gan mon Kan (Ancient) separate wild gate fort former goose yesterday name of gate [Yesterday we went out of the Wild-Goose gate,] [6] [今 戍 龍 庭 前] Kin jŭ riu tei zen Now garrison dragon yard before (verb) name of a locality—desert [To-day from the Dragon-Pen.*9 ][74/75] [7] [驚 沙 亂 海 日] Kio sha ran Kai jitsu Surprised desert turmoil sea sun {sand-sea} [Surprised. Desert turmoil. Sea sun.] ⎫ ⎪ ⎪ ⎪ ⎪ ⎬ ⎪ ⎪ ⎪ ⎪ ⎭ South-Folk in Cold Country 245 [8] [飛 雪 迷 胡 天] Hi setsu mei Kŏ ten flying snow wanders Northern heaven errs12 barbarian Tartar’s [Flying snow bewilders the barbarian heaven.] [9] [蟣 蝨 生 虎 鶡] Ki shitsu sai Kŏ Katsu (isuka)13 ants14 fleas grow on tiger bird lice (part of (a kind of bird famous Antlike lice armor) for bravery) (many) fights till death Soldiers wear their feathers on their helmets on armor— [Lice swarm like ants over our accoutrements.] [10] [心 魂 逐 旌 旃] Shin Kon chiku sei sen Mind spirit drive banners banners made made of of silk— feathers [Mind and spirit drive on the feathery banners.] [Our mind and spirit are on getting forward the feather-silk banners.] [40] ⎫ ⎪ ⎪ ⎪ ⎪ ⎪ ⎪ ⎪ ⎬ ⎪ ⎪ ⎪ ⎪ ⎪ ⎪ ⎪ ⎭ 246 Cribs for Cathay & Other Poems [11] [苦 戰 功 不 賞] Ku sen Ko fŭ sho Hard fight merit not reward Although one fights so hard, his merit is not rewarded [Hard fight gets no reward.] [12] [忠 誠 難 可 宣] Chu sei nan Ka sen loyalty faith difficult to tell—express (As one is not a horse or a bird) So if one were allowed to express all/he feels of loyalty + faith he would be satisfied.//“There is no chance to express ones loyalty and faith.” [Loyalty is hard to explain.]15 [Loyalty is difficult to explain.] [13] [誰 憐 李 飛 將] Sui ren ri hi shŏ Who will be (General) flying- general sorry for Ri of quick motion Who was sorry for flying General Ri [Who will be sorry for General Rishogu,16 the swift moving,] Sam ben [14] [白 首 沒 三 邊] haku shŭ metsu san ben White head lost three outside provinces outskirt border-regions17 [Whose white head is lost for this province?]20 South-Folk in Cold Country 247 Notes SOUTH-FOLK IN COLD COUNTRY (100–4235:37v–40r, 3389; Pound #6–7; TSSC 1:6b-7a; LTBQJ 1:96; 古風五十九其六 [Fifty-Nine Ancient Airs, the Sixth]), by Li Bo. With Mori & Ariga, March 5, 1899. Pentasyllabic old-style verse (wuyan gushi 五言古詩). One in the series of Li Bo’s Fiftynine “Ancient Airs” (gufeng 古風): for other poems in this series, see “Poem by the Bridge at Ten-shin,” “Lament of the Frontier Guard,” and “Ancient Wisdom, Rather Cosmic.” Pound numbered the second page of this poem (starting at line 5) with his blue pencil as the beginning of a new poem (#7), but apparently realized his mistake while translating, as he also did with “The Exile’s Letter.” On the second page, Fenollosa wrote only glosses—atypically putting his paraphrases on the verso page—which probably contributed to Pound’s initial confusion. (See “The River Song” where Pound combined two poems into one.) Pound revised this translation before reprinting it in his essay “Chinese Poetry” published in the journal To-day in 1918 (see this volume). Lines from the revision that vary from those in Cathay are given underneath in italics; the rest are identical. Fenollosa also studied this poem three years earlier on September 23, 1896 (99–4220:74–5) with his first teacher, Hirai Kinza, whose mastery of classical Chinese poetry was not comparable to Mori’s. Wai-lim Yip, however, in his influential study Ezra...


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