Translations from the Asian Classics – serie

Revolutionizing received opinion of Taoism's origins in light of historic new discoveries, Harold D. Roth has uncovered China's oldest mystical text-the original expression of Taoist philosophy-and presents it here with a complete translation and commentary. Over the past twenty-five years, documents recovered from the tombs of China's ancient elite have sparked a revolution in scholarship about early Chinese thought, in particular the origins of Taoist philosophy and religion. In Original Tao, Harold D. Roth exhumes the seminal text of Taoism-Inward Training (Nei-yeh)-not from a tomb but from the pages of the Kuan Tzu, a voluminous text on politics and economics in which this mystical tract had been "buried" for centuries. Inward Training is composed of short poetic verses devoted to the practice of breath meditation, and to the insights about the nature of human beings and the form of the cosmos derived from this practice. In its poetic form and tone, the work closely resembles the Tao-te Ching; moreover, it clearly evokes Taoism's affinities to other mystical traditions, notably aspects of Hinduism and Buddhism.Roth argues that Inward Training is the foundational text of early Taoism and traces the book to the mid-fourth century B.C. (the late Warring States period in China). These verses contain the oldest surviving expressions of a method for mystical "inner cultivation," which Roth identifies as the basis for all early Taoist texts, including the Chuang Tzu and the world-renowned Tao-te Ching. With these historic discoveries, he reveals the possibility of a much deeper continuity between early "philosophical" Taoism and the later Taoist religion than scholars had previously suspected. Original Tao contains an elegant and luminous complete translation of the original text. Roth's comprehensive analysis explains what Inward Training meant to the people who wrote it, how this work came to be "entombed" within the Kuan Tzu, and why the text was largely overlooked after the early Han period.

Trenchant, sophisticated, and cynical, Han Feizi has been read in every age and is still of interest today when people are more than ever concerned with the nature and use of power. Han Feizi (280?-233 B.C.), a prince of Han, was a representative of the Fa-chia, or Legalist, school of philosophy and produced the final and most readable exposition of its theories. His handbook for the ruler deals with the problems of strengthening and preserving the state, the way of the ruler, the use of power, and punishment and favor. Ironically, the ruler most influenced by Han Feizi, the king of Qin, eventually sent Han Feizi to prison, where he later committed suicide.

Since its appearance in China in the third century, The Lotus Sutra has been regarded as one of the most illustrious scriptures in the Mahayana Buddhist canon. The object of intense veneration among generations of Buddhists in China, Korea, Japan, and other parts of the world, it has had a profound impact on the great works of Japanese and Chinese literature, attracting more commentary than any other Buddhist scripture. As Watson notes in the introduction to his remarkable translation, " The Lotus Sutra is not so much an integral work as a collection of religious texts, an anthology of sermons, stories, and devotional manuals, some speaking with particular force to persons of one type or in one set of circumstances, some to those of another type or in other circumstances. This is no doubt why it has had such broad and lasting appeal over the ages and has permeated so deeply into the cultures that have been exposed to it."

Only by inhabiting Dao (the Way of Nature) and dwelling in its unity can humankind achieve true happiness and freedom, in both life and death. This is Daoist philosophy's central tenet, espoused by the person-or group of people-known as Zhuangzi (369?-286? B.C.E.) in a text by the same name. To be free, individuals must discard rigid distinctions between good and bad, right and wrong, and follow a course of action not motivated by gain or striving. When one ceases to judge events as good or bad, man-made suffering disappears and natural suffering is embraced as part of life. Zhuangzi elucidates this mystical philosophy through humor, parable, and anecdote, deploying non sequitur and even nonsense to illuminate a truth beyond the boundaries of ordinary logic. Boldly imaginative and inventively worded, the Zhuangzi floats free of its historical period and society, addressing the spiritual nourishment of all people across time. One of the most justly celebrated texts of the Chinese tradition, the Zhuangzi is read by thousands of English-language scholars each year, yet only in the Wade-Giles romanization.Burton Watson's pinyin romanization brings the text in line with how Chinese scholars, and an increasing number of other scholars, read it.

The Zhuangzi (Sayings of Master Zhuang) is one of the foundational texts of the Chinese philosophical tradition and the cornerstone of Daoist thought. The earliest and most influential commentary on the Zhuangzi is that of Guo Xiang (265–312), who also edited the text into the thirty-three-chapter version known ever since. Guo’s commentary enriches readings of the Zhuangzi, offering keen insights into the meaning and significance of its pithy but often ambiguous aphorisms, narratives, and parables.Richard John Lynn’s new translation of the Zhuangzi is the first to follow Guo’s commentary in its interpretive choices. Unlike any previous translation into any language, its guiding principle is how Guo read the text; Lynn renders the Zhuangzi in terms of Guo’s understanding. This approach allows for the full integration of the text of the Zhuangzi with Guo’s commentary. The book also features a translation of Guo’s complete interlinear commentary and is annotated throughout.A critical introduction includes a detailed account of Guo’s life and times as well as analysis of his essential contributions to the arcane learning (xuanxue) of the fourth century and the development of Chinese philosophy. Lynn sheds new light on how the Daoist classic, which has often been seen as a timeless book of wisdom, is situated in its historical context, while also considering it as a guide to personal cultivation and self-realization.

Only by inhabiting Dao (the Way of Nature) and dwelling in its unity can humankind achieve true happiness and freedom, in both life and death. This is Daoist philosophy's central tenet, espoused by the person-or group of people-known as Zhuangzi (369?-286? BCE) in a text by the same name. To be free, individuals must discard rigid distinctions between right and wrong, and follow a course of action not motivated by gain or striving. When one ceases to judge events as good or bad, man-made suffering disappears, and natural suffering is embraced as part of life. Zhuangzi elucidates this mystical philosophy through humor, parable, and anecdote, using non sequitur and even nonsense to illuminate truths beyond the boundaries of ordinary logic. Boldly imaginative and inventively written, the Zhuangzi floats free of its historical period and society, addressing the spiritual nourishment of all people across time. One of the most justly celebrated texts of the Chinese tradition, the Zhuangzi is read by thousands of English-language scholars each year, yet, until now, only in the Wade-Giles romanization.Burton Watson's conversion to pinyin in this book brings the text in line with how Chinese scholars, and an increasing number of other scholars, read it.

This is one of the most justly celebrated texts of the Chinese tradition - impressive for both its bold philosophical imagination and its striking literary style. Accepting the challenge of translating this captivating classic in its entirety, Burton Watson has expertly rendered into English both the profound thought and the literary brilliance of the text.

Chushingura (The Treasury of Loyal Retainers), also known as the story of the Forty-Six (or Forty-Seven) Ronin, is the most famous and perennially popular of all Japanese dramas. Written around 1748 as a puppet play, it is now better known through Kabuki theater performances. Donald Keene's translation of the original text is presented here with a new preface and an introduction and notes to aid readers in their comprehension and enjoyment of the play.

Ryokan (1758-1831), a Buddhist monk in the Zen sect, was a major figure in Tokugawa poetry. Although a Zen master, he never headed a temple but chose to live alone in simple huts and to support himself by begging. His poems are mainly a record of his daily activities - of chores and outings to gather firewood and edible plants, lonely snow-bound winters, begging expeditions to town, meetings with friends, romps with the village children. At the same time they show us how contented, even joyous, a man could be with a minimum of material possessions, and how rich a spiritual and intellectual life he could enjoy in the midst of poverty. Ryokan's unusual personality and outlook are evident in this volume. His Japanese poems (waka) were influenced by the poets of the 8th century Man'yoshu anthology. 83 representative works are presented here. He also wrote Chinese poems (kanshi), some doctrinal in nature and many inspired by Han-shan, a Buddhist recluse and master of Cold Mountain. 43 of these are included in the collection. To enrich the text, the original Japanese poems are provided in Romanized form. Also included is an explanation of the Buddhist practice of begging for food.

The Columbia Book of Chinese Poetry presents translations of more than 420 poems by 96 poets drawn from the great ages of Chinese poetry. It begins with selections from the Book of Odes, the oldest anthology of Chinese poetry compiled around the seventh century B.C., and covers the succeeding generations down to the end of the Sung dynasty in A.D. 1279. Important poets such as T'ao Yuan-ming, LiPo, Tu Fu, Su Tung-p'o, and Lu Yu are treated in separate sections with generous samplings from their works, while lesser poets are represented in chapters devoted to the particular era in which they lived. A general introduction discusses the major characteristics and forms of traditional Chinese poetry, while introductory essays to the individual chapters outline the history of poetic development in China over the centuries.

Kukai, more commonly known by the honorific Kobo Daishi, was one of the great characters in the development of Janpanese culture. He was active in literature, engineering, calligraphy, and architecture and is represented in this work in terms of his major effort--the introduction of esoteric Buddhism from China, which resulted in the formation of the Shingou sect still active in Japan. Eight of his works are presented here.

Sugawara and the Secrets of Calligraphy is a classic play from Japan's golden age of puppet theater. Written in the eighteenth century, it tells the tale of Sugawara no Michizane, a wronged scholar-official who, in death, joins the Shinto pantheon as a nurturer of scholarship and calligraphy. The story recounts Sugawara's entanglement with the powerful Fujiwara family, who accuse Sugawara of plotting against the emperor, resulting in his exile and death in 903. After a series of misfortunes befall those who conspired against him, Sugawara's enemies appease his spirit through deification. Sugawara and the Secrets of Calligraphy centers on three archetypical brothers and their wives. Their fates unfold against the intrigues surrounding Sugawara and his foes, which reflect the cultural values of the Edo period woven into a stylized past. This annotated translation by Stanleigh H. Jones Jr. replicates the play's poetic and idiomatic language and its original mix of register while also clarifying the drama's complex story and dialogue for students of Japanese literature and drama.An introduction situates the play within its eighteenth-century context and ninth-century setting and describes the relationship between bunraku puppet theater and kabuki. A unique illustrated appendix delves into the construction of puppets and the art of puppetry.

Sugawara and the Secrets of Calligraphy is a classic play from Japan's golden age of puppet theater. Written in the eighteenth century, it tells the tale of Sugawara no Michizane, a wronged scholar-official who, in death, joins the Shinto pantheon as a nurturer of scholarship and calligraphy. The story recounts Sugawara's entanglement with the powerful Fujiwara family, who accuse Sugawara of plotting against the emperor, resulting in his exile and death in 903. After a series of misfortunes befall those who conspired against him, Sugawara's enemies appease his spirit through deification. Sugawara and the Secrets of Calligraphy centers on three archetypical brothers and their wives. Their fates unfold against the intrigues surrounding Sugawara and his foes, which reflect the cultural values of the Edo period woven into a stylized past. This annotated translation by Stanleigh H. Jones Jr. replicates the play's poetic and idiomatic language and its original mix of register while also clarifying the drama's complex story and dialogue for students of Japanese literature and drama.An introduction situates the play within its eighteenth-century context and ninth-century setting and describes the relationship between bunraku puppet theater and kabuki. A unique illustrated appendix delves into the construction of puppets and the art of puppetry.

Jonathan Chaves makes available a vast store of rich and significant poems by both major and minor poets from China's last three dynasties. Featured are poems from the Yuan dynasty, which range from quiet landscape depictions to expansive, freely expressive works; from the Ming era, notable for its stylistic quality and its diversity; and from tte Ch'ing dynasty, known for poets who, by refusing to fit into any category, helped continue the fascinating richness of late Ming cultural life. Annotated with biographical sketches of the poets and illustrated with their paintings, this collection is an unprecedented anthology of exceptionally well translated Chinese poetry up to the twentieth century.

-- Robert E. Morrell, Washington University

The Pillow Book of Sei Shonagon is a fascinating, detailed account of Japanese court life in the eleventh century. Written by a lady of the court at the height of Heian culture, this book enthralls with its lively gossip, witty observations, and subtle impressions. Lady Shonagon was an erstwhile rival of Lady Murasaki, whose novel, The Tale of Genji, fictionalized the elite world Lady Shonagon so eloquently relates. Featuring reflections on royal and religious ceremonies, nature, conversation, poetry, and many other subjects, The Pillow Book is an intimate look at the experiences and outlook of the Heian upper class, further enriched by Ivan Morris's extensive notes and critical contextualization.

Including works of varied genres from fiction and poetry to folk stories and elegies, travelogues and jokes to criticism and theory, this wide-ranging collection brings together more than two thousand years of great works in one portable volume.

Burton's Watson translations are accompanied by a Romanized version of the Japanese original and identification of its location in Japanese anthologies. A general introduction discusses the few facts known about Saigyo's life and analyzes the origins and characteristics of his poetic style.

Originating in Tamil mythology, "Cilappatikaram" is the love story of Kannaki and Kovalan. Kannaki wears a circular anklet representing the power, strength and dignity of the goddess Pattini. Goddess status is bestowed upon Kannaki as her life undergoes the same fate as the anklet that is stolen and used as a weapon. The story of Kannaki follows the conventions of classical Tamil poetry and is told in three phases: the erotic, the mythic, and the heroic. This epic ranks with the "Ramayana" and the "Mahabharata" as one of the great classics of Indian literature.

A masterpiece of eighteenth-century Japanese puppet theater, Yoshitsune and the Thousand Cherry Trees is an action-packed play set in the aftermath of the twelfth-century Genji-Heike wars. It follows the adventures of the military commander, Yoshitsune, as he tries to avoid capture by his jealous older brother and loyal henchmen. The drama, written by a trio of playwrights, popularizes Japan's martial past for urban Edo audiences. It was banned only once in its long history, for a period after World War II, because occupying American forces feared its nationalizing power. In this expert translation by Stanleigh H. Jones Jr., readers learn why Yoshitsune and the Thousand Cherry Trees became one of the most influential plays in the repertoires of both kabuki and bunraku puppet theater. He opens with an introduction detailing the historical background, production history, and major features of the bunraku genre, and then pairs his translation of the play with helpful resources for students and scholars.Emphasizing text and performance, Jones's translation underlines not only the play's skillful appropriation of traditional forms but also its brilliant development of dramatic technique.

A masterpiece of eighteenth-century Japanese puppet theater, Yoshitsune and the Thousand Cherry Trees is an action-packed play set in the aftermath of the twelfth-century Genji-Heike wars. It follows the adventures of the military commander, Yoshitsune, as he tries to avoid capture by his jealous older brother and loyal henchmen. The drama, written by a trio of playwrights, popularizes Japan's martial past for urban Edo audiences. It was banned only once in its long history, for a period after World War II, because occupying American forces feared its nationalizing power. In this expert translation by Stanleigh H. Jones Jr., readers learn why Yoshitsune and the Thousand Cherry Trees became one of the most influential plays in the repertoires of both kabuki and bunraku puppet theater. He opens with an introduction detailing the historical background, production history, and major features of the bunraku genre, and then pairs his translation of the play with helpful resources for students and scholars.Emphasizing text and performance, Jones's translation underlines not only the play's skillful appropriation of traditional forms but also its brilliant development of dramatic technique.

Since its appearance in China in the third century, The Lotus Sutra has been regarded as one of the most illustrious scriptures in the Mahayana Buddhist canon. The object of intense veneration among generations of Buddhists in China, Korea, Japan, and other parts of the world, it has had a profound impact on the great works of Japanese and Chinese literature, attracting more commentary than any other Buddhist scripture. As Watson notes in the introduction to his remarkable translation, " The Lotus Sutra is not so much an integral work as a collection of religious texts, an anthology of sermons, stories, and devotional manuals, some speaking with particular force to persons of one type or in one set of circumstances, some to those of another type or in other circumstances. This is no doubt why it has had such broad and lasting appeal over the ages and has permeated so deeply into the cultures that have been exposed to it."

The Platform Sutra records the teachings of Hui-neng, the Sixth Patriarch, who is revered as one of the two great figures in the founding of Ch'an (Zen) Buddhism. This translation is the definitive English version of the eighth-century Ch'an classic. Phillip B. Yampolsky has based his translation on the Tun-huang manuscript, the earliest extant version of the work. A critical edition of the Chinese text is given at the end of the volume. Dr. Yampolsky also furnishes a lengthy and detailed historical introduction which contains much information hitherto unavailable even to scholars, and provides the context essential to an understanding of Hui-neng's work. He gives an account of the history and legends of Ch'an Buddhism, with particular attention to the traditions associated with Hui-neng, quoting or summarizing the most important narratives. He then discusses the various texts of the Platform Sutra, and analyzes its contents.

The thoughts and writings of this important fifth century B.C. political and social thinker -- and formidable rival of the Confucianists -- are presented here in English translation.

Representative of the Fachia, or Legalist, school of philosophy, the writings of Han Fei Tzu (280?-233 B.C.) confront the issues of preserving and strengthening the state. His lessons remain timely as scholars continue to examine the nature and use of power. Burton Watson provides a new preface and a helpful introduction.

This anthology of poetry from the Sung Dynasty, translated into English, represents the golden age of the Tz'u period in the 10th-12th centuries AD. These translations of an important lyric form in Chinese literature strive to capture the phrasing and rhythms crucial to Tz'u. Organized by individual poets, the collection includes an introduction to symbols and allusions which enables the reader to discover references in specific poems. The text also contains biographies of the Chinese poets, a glossary of terms, and an historical chart of Chinese poetic genres.

-- Asian Thought and Society

-- Tricycle: The Buddhist Review

This new translation presents the Analects in a revolutionary new format that, for the first time in any language, distinguishes the original words of the Master from the later sayings of his disciples and their followers, enabling readers to experience China's most influential philosophical work in its true historical, social, and political context.