In lieu of an abstract, here is a brief excerpt of the content:

320  Wine  Another Autu (early one) {(tama)}1 [1] 秋 露 白 如 玉 Autumn dew white like ball Autumn dew is white as a crystal ball. (same) [2] 團 團 下 庭 綠 Round round below garden green In round drops down on the garden green. [Dew, clear as gilt jewels,2 hangs under the garden grass-blades.] [3] 我 行 忽 見 之 I go3 sudden see this Unexpecte Going there unexpectedly they met my eye. [4] 寒 早 悲 歲 促 Cold early mournful year hurries The cold season is early; the mournful year hurries up. [Swift is the year, swift is the coming cold season,] [5] 人 生 鳥 過 目 Man born bird pass eye The birth of man {life of man} is like the passing of a bird before the eye [Life swift as the dart of a bird:] Wine 321 [6] 胡 乃 自 結 束 What4 towit5 self tie bind For what reason do we tie ourselves up6 so slavishly. [7] 景 公 一 何 愚 Kei Ko one what foolish {name} Lord of Kei (of Sei)7 especially, why so foolish? [8] 牛 山 淚 相 續 Giu Zan tears mutually join {on} Cow Mt. tears join together in a series—? Many trees here were cut small, and Lord Kei cried over it,/not only for trees, but human being. [9] 物 苦 不 知 足 Thing pain not know sufficient It is a world matter that human beings It is a pity that things are not known as sufficient/or satisfactory by us. {name} {name} [10] 得 隴 又 望 蜀 Get8 Ro also expect Shoku Obtaining Ro, one wants to go on to get Shoku/(a saying)9 [11] 人 心 若 波 瀾 Man mind10 like like wave wave crests foam Man’s mind is like cresting waves ⎫ ⎪ ⎪ ⎬ ⎪ ⎪ ⎭ 322 Cribs for Cathay & Other Poems [12] 世 路 有 屈 曲 World road11 is bend “dead” “comes out” crouch bend bend at angle The road of this world is crooked and angular— [13] 三 萬 六 千 日 Three ten thousand six thousand days for a hundred years [Wine, wine, wine for a hundred autumns.] {same} [14] 夜 夜 當 秉 燭 Night Night should take candle Night after night one should take candles12 /i.e. amuse oneself with wine [And then no wine, no wine, no wine.] [Rihaku] Notes WINE (99–4220:72–3, MF 3376; LTBQJ 1:118–19; 古風五十九首其二十三 [Fifty-Nine Ancient Airs, the Twenty-Third]), by Li Bo. With Hirai, September 1896. Pentasyllabic old-style verse (wuyan gushi 五言古詩). One in the series of Li Bo’s Fifty-nine “Old Airs” (gufeng 古風): see notes to “Poem by the Bridge at Ten-Shin.” In late 1916, Pound returned to the Hirai cribs to draft a number of translations from Wang Wei and Li Bo, none of which were published except for “Dawn on the Mountain” and “Wine” which finally appeared together three years after Cathay in The Little Review (November 1918). Pound’s typescript draft survives with manuscript revisions (10–4230: no. 21). Pound’s interpolated ending follows the spirit of the anecdotes and poems Pound had read in Giles’s A History of Chinese Literature and in Fenollosa’s notebooks about Li Bo’s heroic drunkenness (see “Epitaphs”). Giles spuriously claims that a poem called “Drinking Alone under the Moon” (月下独酌) was the last poem Li Bo wrote before accidentally drowning himself by trying to embrace the reflection of the moon in the water while drunk. Contrary to “Wine,” however, in that poem Li Bo promises to reunite with his wine bottle and his drinking companion (i.e., his own shadow) after death, as Giles puts it: “But we’ll soon have a greeting/without a good-bye,/At our next merry meeting/away in the sky” (永結無情遊, 相期邈雲漢; 154). In other words, contrary to Pound’s big punch line, there is plenty of wine in the Wine 323 afterlife at least in another of Li Bo’s poems. But Pound’s creative reading here still feels inspired partly because of Li Bo’s clear allusion to a canonical poem—“Life’s Years Don’t Reach a Hundred” (生年不 滿百)—whose vita-brevis-carpe-diem sentiments are even more explicit than they are here (one of the series of “Nineteen Ancient Poems”; see “The Beautiful Toilet” and the final note below). Pound’s finale —“wine, wine, wine,” then “no wine, no wine, no wine”—seems to have derived from the short line in “The Unmoving Cloud” by Tao Qian, “Here’s wine! Here’s wine!” (有酒!有酒!), which Pound himself had translated as: “Wine, wine, here’s wine!” (line 13). Generally speaking, Chinese linguistic and rhetorical conventions tend to create doubles, whereas those of Europe resolve into triples, usually for a climax (like the three “swift” things Pound puts together for his version). 1. (tama): Japanese kun-reading of yu 玉 (jade). Hirai’s gloss “ball...

pdf

Additional Information

ISBN
9780823281398
Related ISBN
9780823281060
MARC Record
OCLC
1076879185
Pages
364
Launched on MUSE
2018-12-06
Language
English
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.