The Method of Chines Poetry Translation
by Arthur Waley
It is commonly asserted that poetry, when literally translated, ceases to be poetry. This is often true, and I have for that reason not attempted to translate many poems which in the original have pleased me quite as much as those I have selected. But I present the ones I have chosen in the belief that they still retain the essential characteristics of poetry.
I have aimed at literal translation, not paraphrase. It may be perfectly legitimate for a poet to borrow foreign themes or material, but this should not be called translation.
Above all, considering imagery to be the soul of poetry, I have avoided either adding images of my own or suppressing those of the original.
Any literal translation of Chinese poetry is bound to be to some extent rhythmical, for the rhythm of the original obtrudes itself. Translating literally, without thinking about the metre of the version, one finds that about two lines out of three have a very definite swing similar to that of the Chinese lines. The remaining lines are just too short or too long, a circumstance very irritating to the reader, whose ear expects the rhythm to continue. I have therefore tried to produce regular rhythmic effects similar to those of the original. Each character in the Chinese is represented by a stress in the English; but between the stresses unstressed syllables are of course interposed. In a few instances where the English insisted on being shorter than the Chinese, I have preferred to vary the metre of my version, rather than pad out the line with unnecessary verbiage.
I have not used rhyme because it is impossible to produce in English rhyme-effects at all similar to those of the original, where the same rhyme sometimes runs through a whole poem. Also, because the restrictions of rhyme necessarily injure either the vigour of one’s language or the literalness of one’s version. I do not, at any rate, know of any example to the contrary. What is generally known as “blank verse” is the worst medium for translating Chinese poetry, because the essence of blank verse is that it varies the position of its pauses, whereas in Chinese the stop always comes at the end of the couplet.