328:] this clear." Holzman wrote that "a good proportion" of the book's translations "seem to" originate from doctoral dissertations that had been written by graduate students who had attended universities in the United States. Holzman argued that because these students had "taken the time and the trouble to familiarize themselves with the lives and works of the poets whose poems they have translated" they "should be more likely to give us a feeling of what the poem is really about than a translator who approaches the poem as a disincarnated "verbal object"." Therefore he argues that the poems written by the students were "the most precious in the volume". Due to space limitations, the names of many translators are not included in this volume.
1297:
291:, wrote that this work makes up for the lack of Tang works in earlier anthologies. Schliepp wrote that despite the fact that the Yuan dynasty was a short period, it was "well represented" but instead of by classical meters it is by popular form. Schliepp stated that because, as of 1976 "sufficient qualities of Sung verse are just beginning to be produced" the Song dynasty "is still not adequately represented" despite "its years and volume of verse".
169:
author indexes, tunetitle indexes, and a table of dynasties. The book contains an index of authors and two appendices. The book has almost 100 pages of background information on poems and poets. The book includes introductory sections and bibliographies. The articles in the "Background on poets and poems" were contributed by the translators, and those articles and the bibliographies appended by the editors are in the end portion of the book.
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342:, wrote that "on the whole the standard of readability is high" but that due to the large volume of poems and the multiple translators involved, "it is inevitable that the rate of success should vary." G. W. added that because most translators were scholars working in universities, "there is perhaps generally more accent on accuracy of detail than on poetic recreation".
429:, stating that "many" of the translators "tolerate gross awkwardness and the worse use an ugly telegram style which is less translating than glossing", and that "few" of the translators "seem to attempt control of their rhythms even informally". Schliepp stated that the "outstanding" exceptions to these issues were the translations of
259:
The collection sometimes chose lesser known works from famous
Chinese poets instead of more well-known, typical poems featured in Chinese poetry collections. The lesser known poets chronicled in this work originated from several sources, including the 5th century, the 6th century, the early and late
179:
Upton wrote that "perhaps" the book's "greatest problem" results from the book catering to potential audiences. She states that the book does not provide phonological information even though it has "a brief assurance" that
Chinese poetry uses "auditory devices" and that the "total absence of comment
168:
The book includes around 1,000 poems, 88 pages of notes, and a bibliography. I. Y. Lo wrote the introduction, which discusses his view on the differences between
Chinese poetry and Western poetry. The notes are about the backgrounds of collections and poets and they vary in length. The book includes
466:
Holzman wrote that while the book has "a substantial amount of worthwhile translations and that it thus deserves serious consideration", he believed that it was "extremely uneven, perhaps even disappointing taken as a whole". Holzman concluded that "there is good work with the mediocre and the bad,
312:
Holzman wrote that the anthology "gives such a broad view to the whole
Chinese poetic tradition", which he describes as the "best part", and that it includes "so many poems" including "so many hitherto untranslated poems by so many poets, many of whom have been completely neglected by translators."
280:
The editors had each poem translation examined with the original text by three readers. Each poem includes a reference indicating the source of the poem, stated after the end of the poem. Upton wrote that "The sources cited tend also to be well-known and easily available editions as well". The book
440:
In regards to new translations of previous work, Schliepp stated that he is favorable to their inclusion because they improve over old versions or "for comparison's sake", but he argued that "the necessity to re-translate certain standard pieces—indispensable to anthologies of this scope—give them
321:
The book states that over fifty translators who were had contributed to this work and that they were "East Asian specialists on the faculty of
American or Canadian colleges and universities, or younger scholars who have received many years of graduate training in the language." Holzman states that
385:
was the "worst offender". Holzman stated that some of the translation mistakes may have been deliberate, "although this is sometimes difficult to determine." According to
Holzman, in some cases "translators constantly allow themselves word for word renderings that they must realize will be
393:
In regards to the translations
Holzman argued that "Some of the translations are extremely good and most of them, even some of those containing whoppers, will be useful to sinologues: it is always interesting to see how others have understood these difficult texts,
380:
However
Holzman believed many translations of poems in other periods were difficult to understand and that he had to consult Chinese texts in order to understand the poems. He believed that some translators did not understand the original poems in Chinese and that
458:
Sunday Book Review
Supplement. Due to the review, the book's first printing sold out within a period of several weeks. This review, printed on the first page of the supplement, was described by Holzman as "eulogistic". Raffel wrote that
276:
poems from periods after the Song dynasty. Most of the translations were commissioned, and therefore made for this book. Some of the translations are new translations of material that had previously been translated by other individuals.
409:
Raffel argued that the poems "cannot, for the most part, be read as poetry" and therefore, instead of the translations of poems that had been previously, the intended audience would find the prior translations preferable.
284:
About one third of the verses in the story originate from the Tang dynasty, making it the most well-represented dynasty in the collection. The Tang poems include works from minor poets. Wayne
Schliepp, a book reviewer for
406:] self." Holzman wrote that little of the poetry "gives pleasure simply as poetry" and that "too much of it seems more interested in being "poetry in its own right" than conveying the meaning of the original.
437:, Shen Yue, and Wen Tingyun. He added that the work of about twenty other translators, the majority of whom were under 40 years of age, was "sound" and that these translators "frequently achieve felicity".
255:
The editors had a preference for poems that had not been previously translated into English. For many of the poems these translations were the first time they had been translated into a Western language.
444:
Upton stated that "predictably" there is a variation of quality in translation, and that "the only really annoying "mistakes" are those which appear to have been taken from earlier translators."
160:
and Chinese provinces in the late summer period, sunflowers had been introduced to China in a recent period and therefore sunflowers are rare in Chinese poetry except for the most recent poetry.
313:
Upton wrote that the inclusion of more obscure poems was a "refreshing feature", and she stated that the references to the translations are "one of the most laudable features of the book".
489:
338:
474:, and all those who worked with them, have largely wasted their time and ours, and the publishers' money. They meant to do what they did, but what they did is not worth doing."
421:, lexical level clichés of verse translation, and obscurity not present in the original Chinese. He also stated that there were hackneyed participles and vague structures, both
322:
the book meant to say "specialists of East Asia" and that "the language" "is presumably Chinese, although nothing in the context, and in some of the translations, make [
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377:. Holzman argued that the translations of the earliest poems "are straightforward enough and are generally in agreement with the standard translations of and ."
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way." Holzman stated that the "deliberate disregard for what the Chinese text is saying" in some translations is what "disfigures this collection most."
180:
upon the phonological changes which have occurred in Chinese" during the time period of the poems covered in the anthology was "even more disturbing".
73:. Wu-chi Liu served as the anthology's senior editor. As of 2002, the book had been widely used in Asian literature studies. In 2002 Stacy Finz of the
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130:. The texts published in the Chinese language anthology do not always coincide with the ones used by the translators of the English anthology.
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Holzman, p. 331. "P.S. The Chinese texts for the poems translated here have been published by the Indiana University Press under the title
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is the individual with the largest quantity of poems in this book. The book has two times the number of Du Fu's poems compared to those of
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incomprehensible to the reader who knows no Chinese, and I suppose they do so because they think they are being terribly "poetic", in an
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Holzman, p. 321-322. "especially if, as is the case here, many of the poems are translated into a Western language for the first time."
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Holzman, p. 322. "The best part of this anthology is that it gives such a broad view of the whole Chinese poetic tradition, from the
176:: for the Western reader the differences are more important than the similarities." Raffel wrote that the introduction was "skimpy".
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91:, the intended audience was for students of Chinese poetry at universities and high schools. Beth Upton, a book reviewer for the
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and the very great number of first translations will make this book useful to all sinologues interested in Chinese poetry."
726:葵曄集 (288 pp.), but, strangely enough, the texts published here do not always coincide with these used by the translators!"
38:
234:. The poems originate from 140 authors. The anthology was written to showcase all genres and periods. The genres include
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Schliepp wrote that the poems have "high standards of translation" but there are diction errors such as "distracting
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A companion volume in the Chinese language, also co-edited by Wu-chi Liu and Irving Lo, was published. It is titled
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156:, wrote that the choice of the title of the anthology was inappropriate because while, in 1978, sunflowers grew in
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Holzman stated that the best translations were poems from poets who were not as well known, including over 20 by
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through the present. The time periods of the poems have a range of 3,000 years, with poems ranging from the
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Holzman wrote that "Professor Lo's insistence upon the differences between "Western" and Chinese poetry is
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considerable difficulties both as regards representation of the periods and quality of translations."
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K'uei Yeh Chi (Chinese Language edition of Sunflower Splendor: Three Thousand Years of Chinese Poetry)
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Holzman, D. "Sunflower Splendor. Three Thousand Years of Chinese Poetry." (book review)
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760:: never before has a single volume contained the translation of so many poems (
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edited and translated the work, and according to Burton Raffel, reviewer for
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301:(Li Bo), and four times the number of Du Fu poems compared to those of
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566:, ISSN 0003-0279, 10/1978, Volume 98, Issue 4, pp. 523 – 524. -
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546:, ISSN 0030-851X, 10/1976, Volume 49, Issue 3, pp. 544 – 545 -
526:, ISSN 0006-7431, 07/1976, Volume 50, Issue 3, pp. 714 – 715 -
509:, ISSN 0082-5433, 01/1978, Volume 64, Issue 4/5, pp. 321 – 331.
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The title of the anthology originates from the poem "A letter from
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309:'s poems "approaches the number of pages devoted to Tu Fu."
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Sunflower Splendor: Three Thousand Years of Chinese Poetry
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Sunflower Splendor: Three Thousand Years of Chinese Poetry
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Sunflower Splendor. Three Thousand Years of Chinese Poetry
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Sunflower Splendor. Three Thousand Years of Chinese Poetry
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Sunflower Splendor. Three Thousand Years of Chinese Poetry
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Sunflower Splendor. Three Thousand Years of Chinese Poetry
188:
The book's poems are divided into six parts. No. 1 is the
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Sunflower Splendor: Three Thousand Years of Chinese Poetry
369:, and poems from previously untranslated poets from the
490:
Bulletin of the School of Oriental and African Studies
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Bulletin of the School of Oriental and African Studies
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The Columbia Anthology of Modern Chinese Literature
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25:translated into English, edited by
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150:. D. Holzman, a book reviewer for
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601:. Retrieved on December 26, 2013.
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21:is an anthology of around 1,000
1107:New Songs from the Jade Terrace
336:G. W., a book reviewer for the
126:) and was published in 1976 by
1340:Indiana University Press books
640:Stacy Finz (18 October 2002).
117:Kuíyèjí: lìdài shīcí qǔ xuǎnjí
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1217:Chinese poems (category list)
499:DOI 10.1017/S0041977X00044864
332:Analyses of the translations
1345:Doubleday (publisher) books
349:, almost around 20 each by
65:) and published in 1975 by
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1335:Chinese poetry anthologies
93:American Oriental Society
1128:Three Hundred Tang Poems
1015:Classical Chinese poetry
949:Indiana University Press
128:Indiana University Press
1222:List of poems (article)
646:San Francisco Chronicle
76:San Francisco Chronicle
29:and Irving Yucheng Lo (
1210:Individual poems list
1020:Modern Chinese poetry
1166:Antithetical couplet
1049:Six Dynasties poetry
854:Holzman, p. 328-329.
528:DOI 10.2307/40130945
514:University of Denver
495:University of London
1231:Modern compilations
1121:Complete Tang Poems
548:DOI 10.2307/2755518
230:) to the poetry of
216:, and No. 6 is the
31:traditional Chinese
1350:Literary textbooks
1114:Nineteen Old Poems
845:Upton, p. 523-524.
568:DOI 10.2307/599786
472:Sunflower Splendor
455:The New York Times
361:poems, 10 each by
97:Sunflower Splendor
39:simplified Chinese
1330:1975 poetry books
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1093:Classic of Poetry
914:Schliepp, p. 545.
570:- Available from
560:." (book review)
550:- Available from
540:." (book review)
536:Schlepp, Wayne. "
530:- Available from
520:." (book review)
487:." (book review)
383:Edward H. Schafer
223:Classic of Poetry
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1135:Wangchuan ji
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1083:Poetry works
961:– via
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829:
773:
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758:Mao Tse-tung
751:
723:
649:. Retrieved
599:Google Books
591:葵曄集: 歷代詩詞曲選集
585:
561:
541:
523:Books Abroad
521:
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471:
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415:alliteration
412:
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375:Qing dynasty
371:Ming dynasty
344:
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270:Song dynasty
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218:Ming dynasty
214:Yuan dynasty
210:Song dynasty
202:Tang dynasty
190:Zhou dynasty
187:
178:
171:
167:
151:
144:Conrad Aiken
137:
121:
115:
112:葵晔集: 历代诗词曲选集
108:葵曄集: 歷代詩詞曲選集
103:
101:
96:
88:Books Abroad
86:
81:
74:
67:Anchor Press
60:
50:
17:
16:
15:
1159:Major forms
1074:Qing poetry
1069:Ming poetry
1064:Yuan poetry
1059:Song poetry
1054:Tang poetry
651:10 December
461:Sinologists
431:Xie Lingyun
355:Mei Yaochen
347:Wen Tingyun
317:Translators
198:Sui dynasty
194:Han dynasty
83:Sinologists
62:Lo Yü-cheng
52:Luó Yùzhèng
1324:Categories
1149:Zhuying ji
1039:Han poetry
1029:Poetry by
1008:Major eras
937:Wu-chi Liu
753:Shih ching
506:T'oung Pao
478:References
232:Mao Zedong
174:salubrious
153:T'oung Pao
57:Wade–Giles
27:Wu-chi Liu
448:Reception
359:Yuan Zhen
71:Doubleday
1142:Wen Xuan
419:pleonasm
363:Shen Yue
303:Wang Wei
208:and the
196:through
164:Contents
148:epigraph
1276:Portals
1031:dynasty
595:Archive
483:G. W. "
264:, many
228:Shijing
158:Beijing
1290:Poetry
1100:Chu Ci
955:
772:, and
427:rhythm
423:syntax
367:Han Yu
307:Han Yu
299:Li Bai
272:, and
246:, and
59::
49::
47:pinyin
41::
33::
1314:Books
1302:China
1200:yuefu
578:Notes
572:JSTOR
552:JSTOR
532:JSTOR
435:Li He
357:, 11
295:Du Fu
184:Poems
142:" by
140:Li Po
134:Title
953:ISBN
769:tz'u
763:shih
653:2013
593:." (
516:). "
373:and
365:and
353:and
1186:shi
778:),"
775:chü
756:to
417:,"
403:sic
397:sic
325:sic
266:Shi
249:Shi
43:罗郁正
35:羅郁正
1326::
1193:qu
1179:fu
1172:ci
951:.
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243:Qu
240:,
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