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spacestationtrustfund's review
4.0
The introduction (by Cor van den Heuvel) states that, in Hiroaki Sato's* translation, "we find the elliptical, allusive, suggestive richness of the original brought over into English," which is a bold claim to say of anything being translated ever.
A lot of translations claim to be the "definitive version" of a text. Almost all of them are wrong. In this case I think it would almost be permissible to refer to Sato's translation as the definitive English-language version of Bashô's haiku. The addition of annotations (footnotes and endnotes) makes this a highly recommended translation. Sato uses the lunar calendar for dates. He also "translated place names where their surface meanings have direct associations or are punned upon," noting that, "in each such case, I have given the original, Japanese name in the note." As Sato points out,
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*From Sato's introduction: "In this book all Japanese names are given the Japanese way, family name first, with the exceptions of Nobuyuki Yuasa and me." Because this was Sato's own choice, I will follow his lead.
A lot of translations claim to be the "definitive version" of a text. Almost all of them are wrong. In this case I think it would almost be permissible to refer to Sato's translation as the definitive English-language version of Bashô's haiku. The addition of annotations (footnotes and endnotes) makes this a highly recommended translation. Sato uses the lunar calendar for dates. He also "translated place names where their surface meanings have direct associations or are punned upon," noting that, "in each such case, I have given the original, Japanese name in the note." As Sato points out,
Japanese poets and artists from certain periods are better known by their personal names, which are more often noms de plume than not, For example, the real, full name of the person we normally identify as Bashō is Matsuo Munefusa—Munefusa being one of his personal adult names. Bashō, "plantain," is the pen name this poet adopted in 1692, when he was thirty-eight years old. He had at least fifteen other pen names, the best-known of which is Tōsei, "peach-blue/green," which he adopted in 1675, when he was thirty-one. Though he started publishing hokku under the name of Munefusa, only scholars will recognize it as Bashō's real name.Indeed, the official and preferred method of writing Japanese names in English is family name first, and not following those wishes is just plain discourteous.
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*From Sato's introduction: "In this book all Japanese names are given the Japanese way, family name first, with the exceptions of Nobuyuki Yuasa and me." Because this was Sato's own choice, I will follow his lead.
serenaj's review
2.0
I hereby refuse to read translated texts. Consider this my sworn statement. There is no way Basho's original work is that dry and lifeless. It just sounds like stage directions: I went here, we went there and so on forever. I was not a fan :(
trilobiter's review
4.0
An elegant look at the physical and cultural landscape of Tokugawa Japan. The Narrow Road depicts a country steeped in poetry and legend, and lends insight to the labors and pastimes of its people.
At times, the density of footnotes and endnotes make reading slow and difficult. However, they are necessary to transmit the whole picture. The work of poets like Basho is at once minimalist and highly contextual; without a familiarity with Japanese poetic tradition, key references go by unmarked, and the resulting haiku are diminished.
In short, it is a difficult book to appreciate without an acquaintance with Japanese history, language, and geography. But the reward for careful reading is a portrait in words of a journey through a beautiful countryside.
At times, the density of footnotes and endnotes make reading slow and difficult. However, they are necessary to transmit the whole picture. The work of poets like Basho is at once minimalist and highly contextual; without a familiarity with Japanese poetic tradition, key references go by unmarked, and the resulting haiku are diminished.
In short, it is a difficult book to appreciate without an acquaintance with Japanese history, language, and geography. But the reward for careful reading is a portrait in words of a journey through a beautiful countryside.
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