First, there are a few textual differences between the Chinese text in Jakdan and that in Owen. Here are the two poems, side-by-side:
| Owen 9.30 | Jakdan 5.7 | |
| 江村 | 清江 | |
| 清江一曲抱村流， | 清江一曲抱村流， | (Rhyme) |
| 長夏江村事事幽。 | 長夏江村事事幽。 | (Rhyme) |
| 自去自來堂上燕， | 自去自來桨上燕， | |
| 相親相近水中鷗。 | 相親相近水中鷗。 | (Rhyme) |
| 老妻畫紙為棋局， | 老妻畫紙為棋局， | |
| 稚子敲針作釣鉤。 | 稚子敲針作釣鈎。 | (Rhyme) |
| 但有故人供祿米， | 多病所需惟藥物， | |
| 微軀此外更何求。 | 微軀此外復何求。 | (Rhyme) |
For his translation, Jakdan has chosen an en rhyme, which means the rhyming lines must end in -en, -in, -un, -ūn. He has also followed the same AAxA-xAxA rhyme scheme as Du Fu, though in the third line he has an accidental rhyme (cibin) that was probably unavoidable. Lastly, he has translated each line as seven Manchu words, reflecting the seven characters per line of the original.
Here is Jakdan's Manchu translation:
| cing giyang ula | |
| cing giyang-ni emu mudanggai tokso erguwere eyen, | (Rhyme) |
| ula toksoi sidaraka juwari-i baita anan-i elehun, | (Rhyme) |
| cihai deyenere cihai donjirengge daibu-i dergi cibin, | (Accidental rhyme) |
| sasa halanjire sasa halanarangge musei dorgi kilahūn, | (Rhyme) |
| sakda sargan hoošan jijurengge tonio tonikū-i muru, | |
| ajige juse ulme dabtarangge welmiyere dehe-i efin, | (Rhyme) |
| nimeku hūsibuhai baiburengge damu okto hacin dabala, | |
| ser sere beyeci tulgiyen geli ai erecun. | (Rhyme) |
I think the en rhyme must have been a particularly challenging rhyme for Manchu poets because no Manchu finite verb forms end in -n. This forces every rhyming line to end in a noun or adjective, limiting the poet to an extremely narrow set of possible phrase types.
It also poses a challenge for the translator from Manchu, as you might see below in my very literal translation from Jakdan:
The Qingjiang River
A winding bend of the Qingjiang river, which flows around a village,
The events that unfold at the river and village each summer are continuously peaceful,
Those which come and go freely flying are the swallows above the oars,
Those which come and go trading places with us are our own gulls,
What the old lady draws on the paper is the shape of a chess board,
The children hammering on needles, a game of fishhooks,
Other than the kind of medicine that is sought by those who are sick,
Aside from this slight body, what could one expect?
Owen's translation and Jakdan's are generally fairly close, aside from the re-phrasing that Jakdan had to undertake to use the en rhyme. Obviously textual differences lead to differences in translation, so Owen's swallows are "in the hall" but Jakdan's are "over the oars", and the seventh line is completely different.
There are a few interesting oddities about Jakdan's text that bear mentioning, and I'm not sure what they say about Jakdan's process of translation.
1. Clearly, from the Chinese text, the swallows should come and go flying. In Manchu they certainly go flying (deyenere), but instead of coming flying they "listen" (donjire). Is this donjire just a mistake for *deyenjire, "come flying"? Or is this an intentional play on words on Jakdan's part, to inject a new meaning into the translation that was not present in the original?
2. From the Chinese text, the swallows are above the oars (桨), but the word used in the Manchu text is one I have not been able to identify: daibu. I am not sure what the origin of this word is, so I am not entirely sure about the meaning.
3. In the Chinese text, the children of the village very clearly tap on needles to make fishhooks. In Jakdan's Manchu, this is a game (efin), but the word efin sounds a bit like a synonym for needle, ifin.
3. In the Chinese text, the children of the village very clearly tap on needles to make fishhooks. In Jakdan's Manchu, this is a game (efin), but the word efin sounds a bit like a synonym for needle, ifin.
