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4.5 ⭐
I have delved deeper into the ‘Tao Te Ching’ in my review of the more scholarly translation by D.C.Lau which you can find HERE.
In this space I just want to focus on what Ursula K. Le Guin brings to the table and what exactly makes her rendition of the classic, unique from the plethora of other translations and renditions that are available.
I have to commend D.C.Lau for his fantastic translation of the Tao, which includes a wonderful introduction as well as two very informative appendices. But as his expertise really shines through in these elaborate discussions on the history and meaning of the text, so too does Ursula’s incredible talent as a writer, a poet and a humble student of the Tao throughout the entirety of this 126-page book.
n ”Most translations have caught meanings in their net, but prosily, letting the beauty slip through. And in poetry, beauty is no ornament; it is the meaning.”n
Le Guin’s rendition is one for the modern reader. Where some of the passages in other translations make it clear that this was, in many ways, a manual for rulers; Le Guin takes liberty in changing certain phrases to relate more to the everyday individual. I loved the confidence she showed in taking on and re-interpreting this ancient work, whilst always showing respect to the material and addressing, clearly, any amendments that she made. With regard to Chapter 24, Ursula says: ”My version of the first four lines of the second verse doesn’t follow any scholarly translations, and is quite unjustified, but at least, unlike them it makes sense without horrible verbal contortions”. Regarding Chapter 72, she says: ”I take the liberty of reading this chapter as a description of what we, we ordinary people, should fear. The usual reading is in the manual-for-princes mode”. I love this type of honest commentary from Ursula, and it’s prevalent throughout the Chapter Notes as well as the Footnotes at the bottom of most pages which are just phenomenal, short and sharp insights into the text, nearly as sagacious as the passages of the Tao themselves.
n ”To those who will not admit morality without a deity to validate it, or spirituality of which man is not the measure, the firmness of Lao Tzu’s morality and the sweetness of his spiritual counsel must seem incomprehensible, or illegitimate, or very troubling indeed”.n
In addition to her fantastic commentary on the chapters of the Tao, Le Guin also brings her own insight to the questionable origins of the text through analysis of the poem structures within. At one stage, regarding Chapter 42, Ursula explains: ”The last stanza is uncharacteristic in it’s didactic tone and in assimilating the teaching to a tradition… I was inclined to dismiss it as a marginal note by someone who was teaching and annotating the text”.. Regarding Chapter 44, she states: ”The intense, succinct, beautiful language of the first verses of the poem is sometimes followed by a verse or two in a more didactic tone, smaller in scope, and far more prosaic. I believe some of these verses are additions, comments, and examples, copied into the manuscripts so long ago that they became holy writ”. What a keen mind. D.C.Lau comes to the same conclusion for similar reasons.
I thoroughly enjoyed this rendition of the Tao Te Ching and am pleased I started my Ursula K. Le Guin journey here. She reveals in the ‘Sources’ section that the title for her 1971 Science Fiction novel, ‘The Lathe of Heaven’ came from an incorrect translation of a passage from the Chuang Tzu(Another essential Taoist text) by James Legge. Joseph Needham, the great scholar of Chinese Science and Technology would later explain to her that when the Chuang Tzu was written, the lathe hadn’t been invented. I’m very curious to read ‘The Lathe of Heaven’ to see how much of an influence Le Guin’s lifelong study of Taoism had on the work.
n “The way is more than the cycle of any individual life. We, rise, flourish, fail. The way never fails. We are waves. It is the sea.n
I have delved deeper into the ‘Tao Te Ching’ in my review of the more scholarly translation by D.C.Lau which you can find HERE.
In this space I just want to focus on what Ursula K. Le Guin brings to the table and what exactly makes her rendition of the classic, unique from the plethora of other translations and renditions that are available.
I have to commend D.C.Lau for his fantastic translation of the Tao, which includes a wonderful introduction as well as two very informative appendices. But as his expertise really shines through in these elaborate discussions on the history and meaning of the text, so too does Ursula’s incredible talent as a writer, a poet and a humble student of the Tao throughout the entirety of this 126-page book.
n ”Most translations have caught meanings in their net, but prosily, letting the beauty slip through. And in poetry, beauty is no ornament; it is the meaning.”n
Le Guin’s rendition is one for the modern reader. Where some of the passages in other translations make it clear that this was, in many ways, a manual for rulers; Le Guin takes liberty in changing certain phrases to relate more to the everyday individual. I loved the confidence she showed in taking on and re-interpreting this ancient work, whilst always showing respect to the material and addressing, clearly, any amendments that she made. With regard to Chapter 24, Ursula says: ”My version of the first four lines of the second verse doesn’t follow any scholarly translations, and is quite unjustified, but at least, unlike them it makes sense without horrible verbal contortions”. Regarding Chapter 72, she says: ”I take the liberty of reading this chapter as a description of what we, we ordinary people, should fear. The usual reading is in the manual-for-princes mode”. I love this type of honest commentary from Ursula, and it’s prevalent throughout the Chapter Notes as well as the Footnotes at the bottom of most pages which are just phenomenal, short and sharp insights into the text, nearly as sagacious as the passages of the Tao themselves.
n ”To those who will not admit morality without a deity to validate it, or spirituality of which man is not the measure, the firmness of Lao Tzu’s morality and the sweetness of his spiritual counsel must seem incomprehensible, or illegitimate, or very troubling indeed”.n
In addition to her fantastic commentary on the chapters of the Tao, Le Guin also brings her own insight to the questionable origins of the text through analysis of the poem structures within. At one stage, regarding Chapter 42, Ursula explains: ”The last stanza is uncharacteristic in it’s didactic tone and in assimilating the teaching to a tradition… I was inclined to dismiss it as a marginal note by someone who was teaching and annotating the text”.. Regarding Chapter 44, she states: ”The intense, succinct, beautiful language of the first verses of the poem is sometimes followed by a verse or two in a more didactic tone, smaller in scope, and far more prosaic. I believe some of these verses are additions, comments, and examples, copied into the manuscripts so long ago that they became holy writ”. What a keen mind. D.C.Lau comes to the same conclusion for similar reasons.
I thoroughly enjoyed this rendition of the Tao Te Ching and am pleased I started my Ursula K. Le Guin journey here. She reveals in the ‘Sources’ section that the title for her 1971 Science Fiction novel, ‘The Lathe of Heaven’ came from an incorrect translation of a passage from the Chuang Tzu(Another essential Taoist text) by James Legge. Joseph Needham, the great scholar of Chinese Science and Technology would later explain to her that when the Chuang Tzu was written, the lathe hadn’t been invented. I’m very curious to read ‘The Lathe of Heaven’ to see how much of an influence Le Guin’s lifelong study of Taoism had on the work.
n “The way is more than the cycle of any individual life. We, rise, flourish, fail. The way never fails. We are waves. It is the sea.n