Sign Up Now
Get instant access to over 1 million+ study documents
OR
Already registered? click here to login
By creating your account, you agree to our terms of service, privacy policy and student honor code.
" That Giles does not translate that section highlights their differences. Giles never addresses the beloved, but refers to him in second-person, as if had been stricken from the mind of the poet and could not now be addressed but only spoken about. "For his coming shall not I too yearn? Since my lord left -- ah me unhappy day!"
It is not that Giles' speaker no longer is in love, but they no longer retain an image of the beloved as someone who can be addressed directly. It is easier for them to address the clouds than to address him. One may also notice a subtle difference between the speaking of his return as well. Miao referring to him as having "went away," and yet has also stated as a fact that "when people separate they always reunite" -- so it may be only a matter of time, which the final lines insist has no end. Giles, on the other hand, does not say that all those who leave return, only that "I see other dear ones to their homes return" but that the beloved himself has "left [on an] unhappy day."
That the poet in Miao's translation is waiting lovingly and patiently for the return of the beloved and that in Giles' that poet is only wishing hopelessly and bitterly is obvious in the final word choice. Miao's final lines read: "My love...
Giles' final lines, however, read: "My heart, like running water, knows no peace. But bleeds and bleeds forever without cease." This clearly reverses the meaning of the river as a sign of constancy in love and instead makes it a sign of restlessness and discontent, and the idea that the heart is always bleeding (instead of always loving) does not show that the beloved would even be welcomed back.
The difference in these two translations cannot be accidental. One must assume that Miao's translation, being closer to the original, embraces the sort of Zen ideals which are common in Chinese poetry, and speaks of the acceptance that love and grief are both part of nature in harmony, and that all things return to their rightful place. There is a sense of peace in it. Giles' translation seems to put more of the translator's own experience into the poem, with a very Western-style approach to relationships, in which love more often ends nastily with betrayal and abandonment, rather than tragically with unwilled separation or death.
Female Agency in Short Stories There are numerous points of similarity between Eileen Chang's "Shame, Amah!" and Wang Anyi's "Granny". Both stories depict the lives of Chinese domestic workers. Moreover, each tale is set during the same time period -- the years surrounding the Second World War. Furthermore, both of the authors are Chinese and display a marked affinity for the intimate details surrounding Chinese culture, which factors prominently in each
culture of humankind and its history, for as the saying goes, "the more we are different, the more we are the same." The Tang Dynasty in China occurred hundreds of years ago, yet some of the issues from that time remain as pertinent today as they did in the past. The poets of this period truly exemplify this continuation through time. When reading the works of the most well-known
Poetry and Politics in 1079: The Crow Terrace Poetry Case of SU Shih Charles Hartman in his article on the political fallout of the poetry of SU Shih acknowledges that all societies practice censorship in some degree and in some form. Western society has a history of confiscating, banning, destroying, controlling the distribution and punishing authors and individuals for the creation and possession of written texts that are deemed morally or
In the course of the Cultural Revolution, the communist leader Mao Zedong proclaimed particular cultural requirements for both art and writings in China. This was a period that was filled with violence and harsh realisms for the people within the society. Authors such as Bei Dao, Gu Cheng and Yu Hua can be considered to be misty poets, whose works endeavored to shift from an inactive response to active formation.
Chinese Cultural Revolution in Literature There are a number of stark images found in the works of literature reviewed by Dao, Cheng, and Hua in this assignment. Specifically, this paper details the imagery evinced in Bei Dao's "Resume," Gu Cheng's "Curriculum Vitae," and Yu Hua's "On the Road at Eighteen." That imagery and those works in general are thinly veiled allusions to the Chinese Cultural Revolution, which took places in the
Indeed, the trajectory of the narrative involves exacting revenge on those who prevented her marriage from taking place. Although the Bride's marital aspirations might suggest that she holds a conservative sensibility, this is far from the case and she is ultimately more aggressive than Jen. While Jen also exhibits physical prowess, her sacrificial gesture at the film's conclusion signifies how she maintains a strong reverence for the Confucian moral code,