# | Year | Text | Linked Data |
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1 | 1919 |
Letter from Amy Lowell to John Gould Fletcher ; 16 Aug. (1919). [About her work with Florence Ayscough]. We have found out something which has never yet been taken into consideration by the translators of Chinese poetry, namely, that the nuances, the shadings of expression are found in the roots of the characters. Our method is that she makes a translation direct fom the Chinese, an absolutely literal one, and she not only gives the equivalents of the signs, but all their roots. Then I take it and work out something as nearly like the original as possible. She again compares with the original, and between us we arrive at something she says, from her knowledge of the language, is practically exact. This discovery should knock out Ezra [Pound]'s translations completely, as far as their resemblance to the originals is concerned, for his were made from Fenollosa transcripts of Japanese translations. I do not claim that these translations are any better as poems, nor perhaps as good as Ezra's, but they are much more faithful. |
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2 | 1920 |
Letter from Amy Lowell to John Gould Fletcher ; July (1920). Basil Hall Chamberlain's translations of Japanese poetry are quite as bad as [Herbert A.] Giles's of Chinese, and there is no sense in my using translations which have absolutely no flavor of the originals. Also do you know anywhere that I could find biographical material on Chinese and Japanese poets ? I should be terribly grateful if you could help me in this matter. You know so much more about it than I do, and you are the only person who has ever, to my mind, really explanation where-ever I have had occasion to refer to that form, and here let me tender my thanks. |
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3 | 1945 |
Fletcher, John Gould. The Orient and contemporary poetry. In : The Asian legacy and American life. Essays arranged and ed. by Arthur E. Christy (New York: Asia Press, 1945). Many of the shorter poems in her [Amy Lowell] 'Sword Blades and Poppy Seeds', published in October 1914 betray that preoccupation with the concrete occasion which is common to both Chinese Poetry and to Imagism. There are even vividly pictoral sonnets here, like 'The Temple' and 'A Tulipan Garden', which could not have been what they were without some reference to Chinese models in their author's mind. |
# | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
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1 | 1916 | Gletcher, John Gould. Goblins and pagodas. (Boston : Houghton Mifflin, 1916). | Publication / Flet1 |
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