These are called '' Poems from the Chinese" and we have Mr. Waley's assurance that there are in existence Oriental originals.

But if it be so (and, of course it is) then we have here a literary miracle. It is a platitude that translation of poetry is either bad verse or bad translation. But Mr. Waley, translating not merely from one language into another, but almost from one planet into another, has produced a body of living poetry, in which there is every reason to believe he re-creates, without distorting, the Chinese poets.

This is an unparalleled feat. But as we are, with about six exceptions in the whole of Great Britain, incapable of comparing the English and the Chinese, we must address ourselves to these poems as though they had been written by an Englishman of the twentieth century, and judge them on that basis. It is a severe test to apply to translations, but Mr. Waley emerges from it serenely victorious. Indeed, serenity is the keynote of all this work—the serenity of assured mastery in a difficult medium but still more of outlook. The beauty with which these poems are.

Inlaid is fundamentally a wise beauty and the wisdom is as much in the shape of Mr. Waley's mind as in that of China. There is no need to hurry here. Wisdom goes at an even pace, and has time between her penetrations of the stars to observe the smallest things of life. Her leisurely glance sweeps over them with patient gold, and they settle, almost without a sigh, into decoration and into pattern. We have lost (and the Chinese have lost) the secret of their enamels of the great periods. But Mr. Waley has private access to them, and his poems, varnished with just that cool and even certainty of paint and texture, achieve one filial translation— the translation of colour into speech.

-- Humbert Wolfe.