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Bezig met laden... Haiku, Volume 2: Springdoor R. H. Blyth
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Onderdeel van de reeks(en)Haiku (Volume 2)
Reginald Horace Blyth (1898-1964) was a prime mover in the popularization of haiku and Zen philosophy in western culture. Born in England, Blyth spent most of his working life in Japan, where he acted as a professor of English and foreign liaison, and became a great admirer of Japanese poetry. Long considered by haiku enthusiasts an essential resource for English-speaking readers, Blyth's four-volume haiku anthology is a testament to his love and deep understanding of this singular art form. Presenting the best work of Japan's haiku masters alongside his own lucid commentary, Blyth's volumes communicate the true meaning and spirit of haiku in a way rarely accessible to western readers.The first of the seasonal volumes, Haiku Vol. II (Spring) contains some of the most iconic and beautiful haiku ever written, organized by such classic topics as life and birth, the new year, landscapes, elements, flowers, and nature gods. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)895.61082Literature Literature of other languages Asian (east and south east) languages Japanese Japanese poetry [Collections now 895.61008]LC-classificatieWaarderingGemiddelde:
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It's not completely clear who Blyth intended these books for.
First published in 1949, a slightly outdated world-view peeps through now and then. As a whole, the books are not really a terribly good introduction to haiku, since he seems to presume some vague knowledge of terms and topics before beginning each one. At the same time, the level is simple enough to be a good second book to read after learning some of the basic terminology, and the coverage of all things "haiku" is comprehensive. If anything, the books seem to be aimed at some European-educated literati -- it's as if he's trying to convince some group of the legitimacy of haiku by connecting it to traditional poetic and Christian ideals. Furthermore, while Japanese and Chinese are well-translated, he throws in untranslated German and Italian without a second thought, as if any reader could be assumed to know them (don't worry, the book is still quite readable without knowledge of German or Italian). Blyth demonstrates himself throughout to be quite well-read, but the one thing that especially bugs me is that his constant attempts to relate haiku to European literature seem forced, unconvincing, and entirely unnecessary.
Even with the odd tone, the books make a very good learning experience. The analysis of haiku is well-informed, thoughtful, and generally right on the mark. Blyth is also an excellent translator from my point of view: he makes a straightforward literal translation, but he is quite sensitive to the difficult task of preserving the subtleties and intent of the original Japanese, as well as nicely capturing some of the ambiguities, which are very hard to capture in translation. ( )