Bad poetry fans, rejoice! I have found new depths of Japanese verse in translation.
Remember the rhyming haiku? I bring you something even worse: William N. Porter's 1909 translation of the classic anthology One Hundred Poems by One Hundred Poets. Take, for example, his version of #33 by Ki no Tomonori:
Better now? Yes, it really is in iambics, 4-3-4-3-3, rhyming on the short lines -- rendering a tanka of 5-7-5-7-7 syllables unrhymed. But not only is it crashingly bad verse, Porter mangles the meaning: in the original, the unsettled heart belongs to the flowers, not the speaker, and grammatically it's a question of why do they fall.
But as awful as that is, I am very glad indeed that I did not meet his version of Ki no Tsuruyuki's #35 before drafting my translation, because ow did it require some brain bleach. As poetry it's not as bad, though it's bad enough:
Although the love poems tend to come off particularly badly, the worst offense just might be #99, which turns Emperor Gotoba's graceful note of resignation into sub-Housmanian twaddle:
---L.
Remember the rhyming haiku? I bring you something even worse: William N. Porter's 1909 translation of the classic anthology One Hundred Poems by One Hundred Poets. Take, for example, his version of #33 by Ki no Tomonori:
The spring has come, and once againI'll pause to let you stop shuddering.
The sun shines in the sky;
So gently smile the heavens, that
It almost makes me cry,
When blossoms droop and die.
Better now? Yes, it really is in iambics, 4-3-4-3-3, rhyming on the short lines -- rendering a tanka of 5-7-5-7-7 syllables unrhymed. But not only is it crashingly bad verse, Porter mangles the meaning: in the original, the unsettled heart belongs to the flowers, not the speaker, and grammatically it's a question of why do they fall.
But as awful as that is, I am very glad indeed that I did not meet his version of Ki no Tsuruyuki's #35 before drafting my translation, because ow did it require some brain bleach. As poetry it's not as bad, though it's bad enough:
The village of my youth is gone,But it's even more inaccurate -- the words "village of my youth", "blossom", and "perfume" are correct, but that's about all. Poking a few others I know enough to judge the translation, Hitomaru's #3 is tolerable in a pedantic Edwardian sort of way, and aside from the gratuitously added smile and resting, Semimaru's #10 is close to correct, even if the rhyme is even more jangly than usual for him.
New faces meet my gaze;
But still the blossoms at thy gate,
Whose perfume scents the ways,
Recall my childhood's days.
Although the love poems tend to come off particularly badly, the worst offense just might be #99, which turns Emperor Gotoba's graceful note of resignation into sub-Housmanian twaddle:
How I regret my fallen friendsTruly, this is a remarkably bad piece of work. I will treasure this bookmark for a very long time indeed.
How I despise my foes!
And, tired of life, I only seek
To reach my long day's close,
And gain at last repose.
---L.