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Orienting Arthur Waley
Hailed recently as the greatest translator of Asian Literature ever to have lived, Arthur Waley (1889-1966) had an immeasurable influence on Western perceptions of Asia and on the development of Asian studies in the West. Waley was the single most important force in creating what the English-speaking public understood to be Japanese literature with his popular and critically acclaimed translations of Japanese poetry, no plays and the celebrated 11th-century court romance The Tale of Genji. This study of Waley and his Japanese translations provides a provocative examination of Waley's contribution to 20th-century English literature and culture. top graduate of Rugby and Cambridge and a younger member of the Bloomsbury Group. He examines how the social contexts influenced Waley's work and he further locates Waley's Japanese translations within the political contexts of the Japonism movement, British socialism and imperialism and the development of Japanese studies in England. How a cult of things Japanese in the early modern period in Britain led to the emergence of one of the 20th century's most important translators is an interesting story in itself.
The Book of Songs
First published in 1937. The Book of Songs is a collection of ancient Chinese songs, dating from 800 to 600 B.C. Until this was published in 1937 it had not been translated into English since the middle of nineteenth century, when sinology was still in its infancy. For the first time the original meaning of 290 out of the 305 songs is given, use being made of the advances in the study of old Chinese. The result is not merely a clear picture of early Chinese life, but also the restoration to its proper place in world literature of one of the finest collection of traditional songs.
Arthur Waley
Arthur Waley's place as one of the finest translators, literary men and sinologists of the twentieth century is undeniable: his meticulous research, based on original source material and fresh translations with extensive introductions and explanatory notes continue to provide the best resources for understanding Chinese literature and poetry, history and philosophy. RoutledgeCurzon here re-issues eleven of his most significant works on China as they were originally published and as Waley himself intended to see them in print.
Chinese Poems
First published in 1946. Here in one volume is a collection of Arthur Waley's translations of Chinese poetry. The book includes some poems from The Book of Songs and 170 Chinese Poems, More Translations and The Temple. Some old translations have been revised and new notes and explanatory material added.
Three Ways of Thought in Ancient China
In the fourth century BC three conflicting points of view in Chinese philosophy received classic expression: the Taoist, the Confucianist, and the "Realist." This book underscores the interplay between these three philosophies, drawing on extracts from Chuang Tzu, Mencius, and Han Fei Tzu.
The Real Tripitaka
First published in 1952. The Real Tripitaka gives an account of the seventh century pilgrim's adventures, spiritual and material, both in India and after his return to China. In addition the book contains an account of a Japanese pilgrim's visit to China in the ninth century, which describes the Wu-t'ai Shan, China's great place of Pilgrimage, and an eye-witness's account of the great persecution of Buddhism in 842-845 A.D.
Monkey
Monkey depicts the adventures of Prince Tripitaka, a young Buddhist priest on a dangerous pilgrimage to India to retrieve sacred scriptures accompanied by his three unruly disciples: the greedy pig creature Pipsy, the river monster Sandy – and Monkey. Hatched from a stone egg and given the secrets of heaven and earth, the irrepressible trickster Monkey can ride on the clouds, become invisible and transform into other shapes – skills that prove very useful when the four travellers come up against the dragons, bandits, demons and evil wizards that threaten to prevent them in their quest. Wu Ch’êng-ên wrote Monkey in the mid-sixteenth century, adding his own distinctive style to an ancient Chinese legend, and in so doing created a dazzling combination of nonsense with profundity, slapstick comedy with spiritual wisdom.
