Notes 1 <strong>The</strong> section titled “Sixteen T’ang Poems” in <strong>The</strong> Gary Snyder Reader: Prose, Poetry and Transl<strong>at</strong>ions 1952–1998 consists <strong>of</strong> 15 qu<strong>at</strong>rains and an eight-line poem, all from the T’ang Dynasty; this section is followed by “Long Bitter Song,” a transl<strong>at</strong>ion <strong>of</strong> “Ch’ang-hên ko,” written by Po Chü-i (772–846) (Snyder, <strong>The</strong> Gary Snyder Reader 538– 554). <strong>The</strong>se 17 T’ang poems appear in the popular Chinese anthology Three Hundred T’ang Poems (T’ang-shih sanpai shou). 2 For the causes <strong>of</strong> its popularity, see my article “<strong>The</strong> Reception <strong>of</strong> Cold Mountain’s Poetry in the Far East and the United St<strong>at</strong>es.” Ed. William Tay. Compar<strong>at</strong>ive Liter<strong>at</strong>ure Studies. Hong Kong: Chinese UP (1980): 85–96. 3 Examples include Anthology <strong>of</strong> Chinese Liter<strong>at</strong>ure (1965), edited by Cyril Birch; Sunflower Splendor (1975), edited by Irving Lo; and An Anthology <strong>of</strong> Transl<strong>at</strong>ions <strong>of</strong> Classical Chinese Liter<strong>at</strong>ure (2000), edited by John Minford and Joseph Lau. Works Cited Bartlett, Lee. “Gary Snyder’s Han Shan.” Sagetrieb 2.1 (Spring, 1983): 105–110. Bynner, Witter, trans. <strong>The</strong> Jade Mountain: A Chinese Anthology, Being Three Hundred Poems <strong>of</strong> the T’ang Dynasty, 618–906. New York: Random House, 1972. Chüan T’ang Shih, vol. 1–12. Taipei: Wen-shi-zhe Publishing Co., 1978. Chung, Ling. “Whose Mountain Is This Gary Snyder’s Transl<strong>at</strong>ion <strong>of</strong> Han Shan.” Renditions 7 (Spring, 1977): 93–102. Fackler, Herbert. “Three English Versions <strong>of</strong> Han Shan’s Cold Mountain Poems.” Liter<strong>at</strong>ure East & West XV (1971): 269–278. Kalter, Susan. “<strong>The</strong> P<strong>at</strong>h to Endless: Gary Snyder in the Mid-1990s.” <strong>Texas</strong> Studies in Liter<strong>at</strong>ure and Language 4.1 (Spring, 1999): 16–46. Kerouac, Jack. <strong>The</strong> Dharma Bums. London: Penguin Books, 1958. Leed, Jacob. “Gary Snyder, Han Shan, and Jack Kerouac.” Journal <strong>of</strong> Modern Liter<strong>at</strong>ure 11.1 (March, 1984): 185–193. Minford, John and Joseph Lau, ed. Classical Chinese Liter<strong>at</strong>ure: An Anthology <strong>of</strong> Transl<strong>at</strong>ion Vol. 1. New York: Columbia <strong>University</strong> Press, 2000. Snyder, Gary. “Cold Mountain Poems.” Evergreen Review 2.6 (1958): 69–80. ——. <strong>The</strong> Gary Snyder Reader: Prose, Poetry and Transl<strong>at</strong>ions 1952–1998. Washington, D.C.: Counterpoint, 1999. ——. <strong>The</strong> Real Work: Interviews and Talks 1964– 1979. New York: New Directions Books, 1980. ——. Videocassette Interview by Ling Chung. 18 July, 2001. Glossary Ch’ang-An 長 安 Chao Fei-yen 趙 飛 燕 ch’êng-ch’un-ts’a-mu-shên 城 春 草 木 深 chiang-hsüeh 江 雪 ch’ien-ch’êng-wan-ch’I-hsi-nan-hsing 千 乘 萬 騎 西 南 行 ch’ih-ch’ih 遲 遲 ch’ih-ch’ih-chung-ku-ch’u-yeh-ch’ang 遲 遲 鐘 鼓 初 夜 長 ch’in-pu-yao 金 步 搖 ch’ing-t’ai-shang 青 苔 上 ch’iu his 秋 夕 chuan 卷 Chüan T’ang Shih 全 唐 詩 ch’un-hsiao 春 曉 ch’un wang 春 望 Emperor Xuan-zong 玄 宗 fan-ching-ju-sên-lin 返 景 入 深 林 fu-chao-ch’ing-t’ai-shang 復 照 青 苔 上 han-ch’ing-ning-t’I-hsieh-chün-wang 含 情 凝 睇 謝 君 王 hsi-tien 夕 殿 hsi-tien-ying-fei-szû-ch’iao-jan 夕 殿 螢 飛 思 悄 然 hua-luo-chih-tuo-shao 花 落 知 多 少 kêng-kêng 耿 耿 kêng-kêng-hsing-ho-yü-shu-t’ien 耿 耿 星 河 欲 曙 天 kuo-p’o-shan-ho-tsai 國 破 山 河 在 li- chih 麗 質 Liu Tsung-Yüan 柳 宗 元 61
Lu ch’ai 鹿 柴 Mêng Hao-jan 孟 浩 然 ning-chih 凝 脂 o-mei-shan-hsia-shao-jên-hsing 峨 嵋 山 下 少 人 行 shang 上 shu-chiang-shuei- pi-shu-shan- ch’ing 蜀 江 水 碧 蜀 山 青 tieh tzû 疊 字 t’ien-chieh-yeh-sê-liang-ju-shuei 天 階 夜 色 涼 如 水 tsu-k’an-ch’ien-niu-chih-nü-hsing 坐 看 牽 牛 織 女 星 Tu Fu 杜 甫 Tu Mu 杜 牧 Wang Wei 王 維 yang-chia-yu-nü-ch’u-chang-ch’êng 楊 家 有 女 初 長 成 Yang Guei-fei 楊 貴 妃 yang-tsai-shên-kuei-jên-wei-shih 養 在 深 閨 人 未 識 62
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Translation Review Number Sixty-Nin
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EDITORIAL: CHARTING THE FUTURE OF T
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Thus, we should consider the method
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distinctly, because it was Carol’
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hostility on us. A woman came up an
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RPM: So what do you do BB: Use my o
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