I attended a particularly stimulating talk at The Bookworm this week given by Nick Admussen, a young American academic and poet based in Beijing, examining some of the crossover between Classical Chinese and modern Western poetry. (Here's a fuller account of the lecture, from Canaan Morse on Chinese translation website Paper Republic.) I thought the most interesting piece Nick introduced was this, a sort of free-form riff on 'The Ballad of Lovely Women' (麗人行, Li Ren Xing) by Du Fu (or Tu Fu, 杜甫, 712-770) - widely considered to be one of the greatest, if not the greatest poet of the Tang Dynasty 'golden age'. Many of his works, like this one, were bitterly satirical of the opulence, corruption and cruelty of the Tang court in its declining years. The curious thing here is that the American poet, Frank Bidart, is a professor of English, and apparently knows no Chinese at all. His version of the Ballad is adapted (with an infusion of some additional historical background) from a prose rendition published in 1967 in The Little Primer of Tu Fu by the British Sinologist David Hawkes (who died this summer: the link is to his obituary in The Guardian). This book is, I'm told, an excellent introduction to the great poet's work, but has been long out of print (well, I had heard that it was recently reprinted again; but I haven't been able to find any evidence of that online). Nick used both versions to raise the question of how one deals with references which are opaque to the modern audience. Hawkes, like most academic translators, tried to remain faithful to the allusive spareness of the original, but provided voluminous explanatory footnotes. Bidart chose to incorporate the 'footnotes' into the body of his poem: the significance of the pepper-flowers in Du Fu's work would be deeply obscure to most modern readers (and perhaps to many contemporaries also?), but Bidart found it such a striking image that he elaborated an extended gloss on it. I was reminded that when, a while back, I attempted an English version of Catullus' Quaeris quot mihi… , I elected to omit three whole lines (all that stuff about "between the oracle of sultry Jupiter and the tomb of old Battus" - in Catullus' own time it was considered an elegant literary sport to work in such abstruse nuggets of guidebook information about a locale; but for us today, it is otiose and irrelevant knowledge) ... and the pseudonym of his lover ('Lesbia' carries other connotations today. Few people now know that Catullus - in thus anonymizing his lover - was paying homage to the female Greek poet Sappho, one of his main artistic influences, and a native of the island of Lesbos.)... and even the key word 'basiationes' (I think we know what he's really talking about; and it's not just kissing!). Translation - it's hard. Apologies for the digression there. We're supposed to be focusing on China today, not Rome. Here's Frank Bidart's take on the famous Du Fu poem. (I'll try to add the bridging version between the two by David Hawkes in the comments.) [I would have liked to include Du Fu's original too, but.... I'm afraid I'm not very good at searching for stuff in Chinese!] Tu Fu Watches the Spring Festival Across Serpentine Lake In 753 Tu Fu, along with a crowd of others, watched the imperial court—the emperor's mistress, her sisters, the first minister—publicly celebrate the advent of spring. Intricate to celebrate still-delicate
raw spring, peacocks in passement of gold thread, unicorns embroidered palely in silver.
These are not women but a dream of women:— bandeaux of kingfisher-feather jewelry, pearl netting that clings to the breathing body veil what is, because touched earth
is soiled earth, invisible. As if submission to dream were submission
not only to breeding but to one's own nature, what is gorgeous is remote now, pure, true. * The Mistress of the Cloud-Pepper Apartments
has brought life back to the emperor, who is old. Therefore charges of gross extravagance, of
pandering incest between her sister Kuo and her cousin are, in the emperor's grateful eyes, unjust. Her wish
made her cousin first minister. Three springs from this spring, the arrogance of the new first minister
will arouse such hatred and fury even the frightened emperor must accede to his execution. As bitterly to
hers. She will be carried on a palanquin of plain wood to a Buddhist chapel
deep in a wood and strangled. * Now the Mistress of the Cloud-Pepper Apartments,—
whose rooms at her insistence are coated with a pepper-flower paste into which dried pepper-
flowers are pounded because the rooms of the Empress always are coated with paste into which dried pepper-
flowers are pounded and she is Empress now in all but name,—is encircled by her
sisters, Duchesses dignified by imperial favor with the names of states that once had
power, Kuo, Ch'in, Han. Now rhinoceros-horn chopsticks, bored, long have not descended.
The belled carving knife wastes its labors. Arching camel humps, still perfect, rise like purple hills
from green-glazed cauldrons. Wave after wave of imperial eunuchs, balancing fresh
delicacies from the imperial kitchens, gallop up without stirring dust. * With mournful sound that would move demon
gods, flutes and drums now declare to the air he is arrived. Dawdlingly he arrives, as if the cloud of suppliants clinging to him cannot obscure the sun. Power greater than that of all men except one
knows nothing worth rushing toward or rushing from. Finally the new first minister
ascends the pavilion. He greets the Duchess of Kuo with that slight
brutality intimacy induces. Here at last is power that your
soul can warm its hands against! Beware: success has made him
incurious, not less dangerous. Frank Bidart |
Sunday, December 13, 2009
Poetry, with Chinese characteristics
Saturday, December 12, 2009
A cynic looks for work
My freelance earnings have been so patchy of late that I've been thinking I may have to consider finding myself a semi-full-time job to give myself a bit of stability. [Groan] And I thought I might have struck lucky last week when I ran into a fellow Brit who's leaving China shortly, and thus vacating his rather cushy job as an in-house editor/polisher/"language consultant" for one of the major IT companies (only 20 hours a week, modestly generous pay, and almost NO actual work, he tells me). He said he'd put in a word for me. Unfortunately, this acquaintance now tells me that the job placement is going to be handled by a headhunting agency, and he doesn't have any contact names there. So, that's doomed then. He's forwarded my CV to them - but nothing ever happens in China without a personal introduction (the guanxi principle: everything is based on 'relationships', not merit or propriety). I observed ruefully to my new friend: "I've seen how these recruiters and HR people work too many times before. They'll file your recommendation in the 'Trash' folder. And then, a day or two before they need to fill the position, they'll ask their cousin or their flatmate or their dentist if they know anyone who might fit the bill." Ah, China. |
A new persecution
The latest glitch in my Internet functionality (more unwelcome interference from The Kafka Boys, or just Tor being shit??) is that I don't seem to be able to leave blog comments today. Anywhere - on my own blogs, or anyone else's. Why? Why does this happen? |
Friday, December 11, 2009
War on Chinglish (13)
Bring, take and send Mandarin, it would seem, has one common word that it can use for all forms of 'despatch', moving something from one place to another. (I'm not sure about this. I merely extrapolate from this invariable glitch in the Chinese use of English. What would the word be, I wonder? 差, perhaps? The Chinese thus never seem to grasp the fairly elementary distinction between take and send - that with send, the actor makes arrangements or issues instructions for a person or thing to be moved, but does not accompany them or it himself; while with take, he does accompany the person or thing. This error most commonly manifests itself in sentences like... "The ambulance arrived and sent him to the hospital." Now, we might sometimes talk of a doctor sending someone to a hospital (e.g. in order to have further tests, after a consultation at the doctor's office); but at the scene of a road accident, the victims are usually incapacitated and have to be accompanied to hospital by ambulancemen or a doctor (or, sometimes, the police), and we invariably use the verb take in such cases. There's a similar blindness about the bring and take distinction: bring implies a motion towards the place or event the speaker is focusing on - hence I might ask you to bring a bottle of wine to a party at my house; but I'd advise you to take an umbrella with you if you're going out on a rainy day. Admittedly, this gets a little blurry sometimes: we might use either verb for things we need for going on a trip (because we may imagine we're already on the trip, thinking about what we've brought with us). But there are occasions where it is clearly inappropriate to use one of them: we always use bring when we arrive at a place; we always use take when describing going to somewhere other than where we are now; we always use bring when there is clearly a motion towards something ("I've brought you some flowers"), we always use take when there is a motion away ("Take the trash out"). The Chinese just never seem to get this. This (presumed) bleed-through from Mandarin seems to confuse all notions of 'despatch' - we often find people 'sending' newspapers, for example, rather than 'delivering' or 'carrying' them. Sigh. Teaching English in this country is a Sisyphean task. |
Haiku for the week
The light dies at 5, And darkness gnaws at the soul: The mid-winter mood. |
Tuesday, December 08, 2009
Remembering Karamay in song
Zhou Yunpeng, a blind folk musician who frequents one of my favourite local music bars here in Beijing, wrote an especially scathing song about the Karamay disaster (and other notorious instances of children's suffering in China). I've just embedded a clip of him performing it over on Barstool Blues. Here are the lyrics: 不要做中國人的孩子 不要做克拉瑪依的孩子,火燒痛皮膚讓親娘心焦
不要做沙蘭鎮的孩子,水底下漆黑他睡不著 不要做成都人的孩子,吸毒的媽媽七天七夜不回家 不要做河南人的孩子,愛滋病在血液裡哈哈的笑 不要做山西人的孩子,爸爸變成了一筐煤,你別再想見到他 不要做中國人的孩子,餓極了他們會把你吃掉 還不如曠野中的老山羊,為保護小羊而目露兇光 不要做中國人的孩子,爸爸媽媽都是些怯懦的人 為證明他們的鐵石心腸,死到臨頭讓領導先走 And in English: Don't Ever Be A Chinese Child Don't be a child of Karamay,
whose burns would scorch a mother's heart. Don't be a child of Salan Town who finds no rest beneath dark waters. Don't be a child of Chengdu who waits for mum's return after her week-long binge. Chorus (children laughing) Don't be a child of Henan
where AIDS cackles in the blood. Don't be a child of Shanxi where mines turn dads into baskets of coal. Chorus (laughter) Don't be a child of Karamay
Don't be a child of Salan Town Don't be a child of Chengdu Don't be a child of Henan... Don't ever be a Chinese child,
or the grown-ups will eat you when they starve. At least in the wild, mountain goats
are fierce enough to protect their kids. Don't ever be a Chinese child,
because mommy and daddy are cowards; when the theatre caught fire,
they steeled their hearts and let the cadres exit first. The leaders leave first
Today marks the 15th anniversary of the Great Karamay Fire, one of the most appalling disasters in recent Chinese history. Karamay is an oil town in the western Chinese region of Xinjiang. On the afternoon of December 8th, 1994, the local theatre was hosting a variety gala, staged as a special treat for 'outstanding students' from the town's junior schools. There were nearly 1,000 people inside the theatre when one of the stage curtains caught fire. Many of them couldn't get out (because all but one of the fire exits were locked). 325 people died, and more than a hundred more were seriously injured.
The majority of the victims were children.
One of my translator friends recently introduced me to an independent film-maker she knows who has been working for almost three years on a documentary about the fire and its aftermath. My friend has been writing English subtitles for the hours of interviews he has recorded with survivors of the tragedy and relatives of the victims. I rather fear this will never see the light of day, at least in China (other than at a few underground screenings in small bars and film clubs, perhaps). [Xu Xin's film, Karamay, was eventually released in 2010, and gained some favourable attention overseas; but it was - of course - banned in China.]
Many of the victims' parents are still bitter today, dissatisfied with the response of their local government. Although reaction at the time was perhaps more open than we often see - with quite a bit of media coverage, official investigations and apologies, and even a few of the local Party leaders found to be culpable and sentenced to jail terms - since then, the affair has been largely ignored or downplayed, gradually erased from official memory. During the town's 50th anniversary celebrations a few years ago, no mention was made of the fire amongst the notable events in its history. The parents' need to grieve has been thwarted by repeated refusals to allow any official commemoration. [We saw a similar attitude last year with official reluctance to memorialise all the dead schoolchildren of the Wenchuan Earthquake, because the lax construction standards found to be have been used in so many of the 'tofu schools' that collapsed was threatening to become a huge national scandal.]
And I can't help wondering if there has really been any improvement in safety standards since then. Everywhere you go in China, you still find fire doors locked shut (often with the door handles bound together with bicycle locks). The summer I moved here, a couple of dozen youngsters died in a fire in an Internet bar because of this. The government found this incident a convenient excuse to outlaw Net bars for a year or two; but nothing, as far as I can see, was done about fire safety.
There were a lot of local CCP bigwigs in the Karamay Theatre that day. One of the reasons for the huge loss of life is reckoned to have been that most of the audience, adults and children alike, meekly obeyed an instruction (said to have been given by a woman named Kuang Li, one of those who later went to prison for their role in the fire) to "Let the leaders leave first." (讓領導先走) This expression has come to haunt the Communist Party, growing into a huge catchphrase, particularly on the Internet, used for mocking the callous self-interest and greed of the ruling cadres.
One of the bereaved parents in that documentary said: "288 of us lost our kids. If we had lost ten times that number, it still wouldn't matter. In China, they just wipe you out. Until everyone's gone, or silent. They can suppress this for another fifty years."
Sadly, I fear that is all too true. There may have been 100 times as many children killed in last year's earthquake, but a veil of silence has now been drawn over that too. This country - or, more particularly, its leadership - really has a problem in facing up to difficult truths. How I wish, for everyone's sake, the leaders could begin to embrace a culture of honesty and openness. Instead of just making sure that they are the first ones out of the door when things go wrong.
Monday, December 07, 2009Whatever happened to the "rich"?
Bon mot for the week"One of the secrets of staying young, I've found, is to keep your passport well hidden from your girlfriend."
Saturday, December 05, 2009List of the Month - why my packing took so long
Dream home
Friday, December 04, 2009Recently, on The Barstool
I am starting to HATE Firefox
Update: It appears that the problem is with Java, which somehow becomes disabled (still displayed in the list of 'enabled' plugins, but ceases to work; and 'Java Console' disappears from the Tools menu) whenever I enable Torbutton to use my proxy. I have left a query on the Mozilla support forum, but have had no responses yet. Any ideas, anyone?? The weekly haiku
Thursday, December 03, 2009A boy needs a hobby
Traffic Report - the blog stats for November
Wednesday, December 02, 2009Speeding
Tuesday, December 01, 2009The final hurdle
Monday, November 30, 2009Uyghur Time
A backhanded compliment
Bon mot for the week (the month?!)"Against the disease of writing one must take special precautions, since it is a dangerous and contagious disease."
Sunday, November 29, 2009Accumulator
Saturday, November 28, 2009Film list - holiday treats
Friday, November 27, 2009A pause
A haiku for the week
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The Very Best of FroogvillePick of the Month: a random recommendation from the archiveThe BarstoolYang Rui must GO!Days Ai Weiwei was detained80 With ironic, sinister symmetry, the celebrity artist/activist was incarcerated on the same day that my friend Wu Yuren was finally released from 10 months' detention. Now, like Wu, he's been released on extremely restrictive 'bail' terms - but could face re-arrest at any moment. He was detained incommunicado from April 3rd to June 22nd 2011. Days Wu Yuren was in prison307 "Released on parole" after 10 months; "parole" lifted another year later. The original charges against him were apparently dropped without his trial ever being formally concluded. Why was Wu Yuren in prison?Why do I care about Wu Yuren?How you might have helped Wu Yuren (and the many others like him in China)Remembering the Tiananmen protests of 1989About Me
Who is this Froog person anyway?What does Froog look like?Why can't I be Froog?How did I come to be a blogger?A statement of principleThe scope of Froogville (and Barstool Blues)Froog on WritingWhere to dine in BeijingBeating China's Net Censorship
The TV Listings - my YouTube favouritesCompetitions, etc.
Three Doors™Secrets of the UniverseThe Three PhasesThe Expat LadderBeijing 'types'The Great Debates
Leave your bar jokes hereLeave your 'bad' jokes herePick of the Archives
FRIENDS - doing business in ChinaBlog Archive
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