Arthur Waley

Waley also presented and translated Chinese philosophy, wrote biographies of literary figures, and maintained a lifelong interest in both Asian and Western paintings.

A 2004 profile by fellow sinologist E. Bruce Books called Waley "the great transmitter of the high literary cultures of China and Japan to the English-reading general public; the ambassador from East to West in the first half of the 20th century", and went on to say that he was "self-taught, but reached remarkable levels of fluency, even erudition, in both languages.

[3] Waley briefly worked in an export firm in an attempt to please his parents, but in 1913 he was appointed Assistant Keeper of Oriental Prints and Manuscripts at the British Museum.

[4] Waley left the British Museum in 1929 to devote himself fully to writing and translation, and never held a full-time job again, except for a four-year stint in the Ministry of Information during the Second World War.

As he wrote to Margaret Anderson, the editor of the Little Review, in a letter of 2 July 1917: "Have at last got hold of Waley's translations from Po chu I.

Jonathan Spence wrote of Waley's translations that he selected the jewels of Chinese and Japanese literature and pinned them quietly to his chest.

Also the shock will never be repeated, for most of the works that Waley chose to translate were largely unknown in the West, and their impact was thus all the more extraordinary.

[8]His many translations include A Hundred and Seventy Chinese Poems (1918), Japanese Poetry: The Uta (1919), The No Plays of Japan (1921), The Tale of Genji (published in 6 volumes from 1921 to 1933), The Pillow Book of Sei Shōnagon (1928), The Kutune Shirka (1951), Monkey (1942, an abridged version of Journey to the West), The Poetry and Career of Li Po (1959) and The Secret History of the Mongols and Other Pieces (1964).

Despite translating many Chinese and Japanese classical texts into English, Waley never travelled to either country, or anywhere else in East Asia.

In his preface to The Secret History of the Mongols, he writes that he was not a master of many languages, but claims to have known Chinese and Japanese fairly well, a good deal of Ainu and Mongolian, and some Hebrew and Syriac.

E-maki scroll painting of The Tale of Genji ( ch. 5 – 若紫 "Young Murasaki") by Tosa Mitsuoki , (1617–91)
Li Bai in Stroll , by Liang K'ai (1140–1210)