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“Ezra Pound's Cathay” (Publication, 1967)

Year

1967

Text

Yip, Wai-lim. Ezra Pound's Cathay. (Princeton, N.J. : Princeton University, 1967). Diss. Princeton Univ., 1967. = (Princeton, N.J. : Princeton University Press, 1969). [Enthält] : Pound, Ezra. Cathay [ID D29059]. (Yip20)

Type

Publication

Contributors (2)

Pound, Ezra  (Hailey, Idaho 1885-Venedig 1972) : Dichter, Schriftsteller
[In der Sekundärliteratur wurden Analysen einzelner Strophen der Gedichte nicht berücksichtigt]

Yip, Wai-lim  (Guangdong 1937-) : Professor of Comparative Literature and Creative Writing, University of California San Diegeo, Dichter

Mentioned People (1)

Pound, Ezra  (Hailey, Idaho 1885-Venedig 1972) : Dichter, Schriftsteller
[In der Sekundärliteratur wurden Analysen einzelner Strophen der Gedichte nicht berücksichtigt]

Subjects

Literature : Occident : United States of America : Poetry / Sinology and Asian Studies : China / Sinology and Asian Studies : United States of America

Chronology Entries (3)

# Year Text Linked Data
1 1915.1 Pound, Ezra. Cathay [ID D29059]. (1)
Rihaku flourished in the eight century of our era. The Anglo-Saxon Seafarer is of about this period. The other poems from the Chinese are earlier.
Song of the Bowmen of Shu
By Bunno (um 1000 B.C.)
Here we are, picking the first fern-shoots
And saying : When shall we get back to our country ?
Here we are because we have the Ken-nin for our foemen,
We have no comfort because of these Mongols.
We grub the soft fern-shoots,
When anyone says "Return", the others are full of sorrow.
Sorrowful minds, sorrow is strong, we are hungry and thirsty.
Our defence is not yet made sure, no one can let his friend return.
We grub the old fern-stalks.
We say : Will we be let to go back in October ?
There is no ease in royal affairs, we have no comfort.
Our sorrow is bitter, but we would not return to our country.
What flower has come into blossom ?
Whose chariot ? The General's.
Horses, his horses even, are tired. They were strong.
We have no rest, three battles a month.
By heaven, his horses are tired.
The generals are on them, the soldiers are by them.
The horses are well trained, the generals have ivory arrows and quivers ornamented with fish-skin.
The enemy is swift, we must be careful.
When we set out, the willows were drooping with spring.
We come back in the snow,
We go slowly, we are hungry and thirsty,
Our mind is full of sorrow, who will know of our grief ?

The beautiful Toilet
By Mei Sheng, 140 B.C.
Blue, blue is the grass about the river
And the willows have overfilled the close garden.
And within, the mistress, in the midmost of her youth,
White, white of face, hesitates, passing the door.
Slender, she puts forth a slender hand,
And she was a courtesan in the old days,
And she has married a sot,
Who know goes drunkenly out
And leaves her to much alone.

The River Song
By Rihaku, 8th century A.D. [Li Bo]
The boat is of shato-wood, and its gunwales are cut magnolia,
Musicians with jeweled flutes and with pipes of gold
Fill full the sides in rows, and our wine
Is rich for a thousand cups.
We carry singing girls, drift with the drifting water,
Yet Sennin needs
A yellow stork for a charger, and all our seamen
Would follow the white gulls or ride them.
Kutsu's prose song
Hangs with the sun and moon.
King So's terraced palace is now but barren hill,
But I draw pen on this barge
Causing the five peaks to tremble,
And I have joy in these words like the joy of blue islands.
(If glory could last for ever
Then the waters of Han would flow northward).
And I have moped in the Emperor's garden,
Awaiting an order-to-write !
I looked at the dragon-pond, with its willow-coloured water
Just reflecting the sky's tinge,
And heard the five-score nightingales aimlessly singing.
The eastern wind brings the green colour into the island grasses at Yei-shu,
The purple house and the crimson are full of spring softness.
South of the pond the willow-tips are half-blue and bluer,
Their cords tangle in mist, against the brocade-like palace.
Vine-strings a hundred feet long hang down from carved railings,
And high over the willows, the fine birds sing to each other, and listen,
Crying - "Kwan, Kuan", for the early wind, and the feel of it.
The wind bundles itself into a bluish cloud and wanders off.
Over a thousand gates, over a thousand doors are the sounds of spring singing.
And the Emperor is at Ko.
Five clouds hang aloft, bright on the purple sky,
The imperial guards come forth from the golden house with their armour a-gleaming.
The Emperor in his jeweled car goes out to inspect his flowers,
He goes out to Hori, to look at the wing-flapping storks,
He returns by way of Sei rock, to hear the new nightingales,
For the gardens at Jo-run are full of new nightingales,
Their sound is mixed in this flute,
Their voice is in the twelve pipes here.

The River-Merchant's Wife : a letter
By Rihaku [Li Bo]
While my hair was still cut straight across my forehead
I played about the front gate, pulling flowers.
You came by on bamboo stilts, playing horse,
You walked about my seat, playing with blue plums.
And we went on living in the village of Chokan :
Two small people, without dislike or suspicion.
At fourteen I married My Lord you.
I never laughed, being bashful.
Lowering my head, I looked at the wall.
Called to, a thousand times, I never looked back.
At fifteen I stopped scowling,
I desired my dust to be mingled with yours
Forever and forever and forever.
Why should I climb the look out ?
At sixteen you departed,
You went into far Ku-to-en, by the river of swirling eddies,
And you have been gone five months.
The monkeys make sorrowful noise overhead.
You dragged your feet when you went out.
By the gate now, the moss is grown, the different mosses,
Too deep to clear them away!
The leaves fall early this autumn, in wind.
The paired butterflies are already yellow with August
Over the grass in the West garden;
They hurt me. I grow older.
If you are coming down through the narrows of the river Kiang,
Please let me know beforehand,
And I will come out to meet you
As far as Cho-fu-Sa.

The Jewel Stairs' Grievance
By Rihaku [Li Bo]
The jeweled steps are already quite white with dew,
It is so late that the dew soaks my gauze stockings,
And I let down the crystal curtain
And watch the moon through the clear autumn.
Note :
Jewel stairs, therefore a palace. Grievance, there-fore there is something to complain of. Gauze stockings, therefore a court lady, not a servant who complains. Clear autumn, therefore he has no excuse on account of weather. Also she has come early, for the dew has not merely whitened the stairs, but has soaked her stockings. The poems is especially prized because she utters no direct reproach.

Poem by the Bridge at Ten-Shin
By Rihaku [Li Bo]
March has come to the bridge-head,
Peach boughs and apricot boughs hang over a thousand gates,
At morning there are flowers to cut the heart,
And evening drives them on the eastward-flowing waters.
Petals are on the gone waters and on the going.
And on the back-swirling eddies,
But to-day's men are not the men of the old days,
Though they hang in the same way over the bridge-rail.
The sea's colour moves at the dawn
And the princes still stand in rows, about the throne,
And the moon falls over the portals of Sei-go-yo,
And clings to the walls and the gate-top.
With head gear glittering against the cloud and sun,
The lords go forth from the court, and into far borders.
They ride upon dragon-like horses,
Upon horses with head-trappings of yellow metal,
And the streets make way for their passage.
Haughty their passing,
Haughty their steps as they go in to great banquets,
To high halls and curious food,
To the perfumed air and girls dancing,
To clear flutes and clear singing ;
To the dance of the seventy couples ;
To the mad chase through the gardens.
Night and day are given over to pleasure
And they think it will last a thousand autumns,
Unwearying autumns.
For them the yellow dogs howl portents in vain,
And what are they compared to the lady Riokushu,
That was cause of hate !
Who among them is a man like Han-rei
Who departed alone with his mistress,
With her hair unbound, and he his own skiffsman !

Lament of the Frontier Guard
By Rihaku [Li Bo]
By the North Gate, the wind blows full of sand,
Lonely from the beginning of time until now !
Trees fall, the grass goes yellow with autumn.
I climb the towers and towers to watch out the barbarous land :
Desolate castle, the sky, the wide desert.
There is no wall left to this village.
Bones white with a thousand frosts,
High heaps, covered with trees and grass ;
Who brought this to pass ?
Who has brought the flaming imperial anger ?
Who has brought the army with drums and with kettle-drums ?
Barbarous kings.
A gracious spring, turned to blood-ravenous autumn,
A turmoil of wars-men, spread over the middle kingdom,
Three hundred and sixty thousand,
And sorrow to go, and sorrow, sorrow returning.
Desolate, desolate fields,
And no children of warfare upon them,
No longer the men for offence and defence.
Ah, how shall you know the dreary sorrow at the North Gate,
With Rihoku's name forgotten,
And we guardsmen fed to the tigers.

Exile's letter
By Rihaku [Li Bo]
To So-Kin of Rakuyo, ancient friend, Chancellor of Gen.
Now I remember that you built me a special tavern
By the south side of the bridge at Ten-Shin.
With yellow gold and white jewels, we paid for songs and laughter
And we were drunk for month on month, forgetting the kings and princes.
Intelligent men came drifting in from the sea and from the west border,
And with them, and with you especially,
There was nothing at cross purpose,
And they made nothing of sea-crossing or of mountain-crossing,
If only they could be of that fellowship,
And we all spoke out our hearts and minds, and without regret.
And then I was sent off to South Wei, smothered in laurel groves,
And you to the north of Raku-hoku,
Till we had nothing but thoughts and memories in common.
And then, when separation had come to its worst,
We met, and travelled into Sen-jo,
Through all the thirty-six folds of the turning and twisting waters,
Into a valley of the thousand bright flowers,
That was the first valley ;
And into ten thousand valleys full of voices and pine-winds.
And with silver harness and reins of gold,
Out came the East of Kan foreman and his company.
And there came also the "True man" of Shi-yo to meet me,
Playing on a jewelled mouth-organ.
In the storied houses of San-ko they gave us more Sennin music,
Many instruments, like the sound of young phoenix broods.
The foreman of Kan-chu, drunk, danced because his long sleeves wouldn't keep still
With that music playing
And I, wrapped in brocade, went to sleep with my head on his lap,
And my spirit so high it was all over the heavens,
And before the end of the day we were scattered like stars, or rain.
I had to be off to So, far away over the waters,
You back to your river-bridge.
And your father, who was brave as a leopard,
Was governor in Hei Shu, and put down the barbarian rabble,
And one May he had you send for me, despite the long distance.
And what with broken wheels and so on, I won't say it wasn't hard going.
Over roads twisted like sheep's guts.
And I was still going, late in the year, in the cutting wind from the North,
And thinking how little you cared for the cost, and you caring enough to pay it.
And what a reception :
Red jade cups, food well set on a blue jewelled table,
And I was drunk, and had no thought of returning.
And you would walk out with me to the western corner of the castle,
To the dynastic temple, with water about it clear as blue jade,
With boats floating, and the sound of mouth-organs and drums,
With ripples like dragon-scales, going grass-green on the water,
Pleasure lasting, with courtesans, going and coming without hindrance,
With the willow flakes falling like snow,
And the vermillioned girls getting drunk about sunset,
And the water, a hundred feet deep, reflecting green eyebrows
Eyebrows painted green are a fine sight in young moonlight,
Gracefully painted
And the girls singing back at each other,
Dancing in transparent brocade,
And the wind lifting the song, and interrupting it,
Tossing it up under the clouds.
And all this comes to an end.
And is not again to be met with.
I went up to the court for examination,
Tried Layu's luck, offered the Choyo song,
And got no promotion,
and went back to the East Mountains
White-headed.
And once again, later, we met at the South bridge-head.
And then the crowd broke up, you went north to San palace,
And if you ask how I regret that parting :
It is like the flowers falling at Spring's end
Confused, whirled in a tangle.
What is the use of talking, and there is no end of talking,
There is no end of things in the heart.
I call in the boy,
Have him sit on his knees here
To seal this,
And send it a thousand miles, thinking.

Four poems of Departure
By Rihaku [Li Bo] or Omakitsu [Yip Wai-lim : By Wang Wei].
Light rain is on the light dust.
The willows of the inn-yard
Will be going greener and greener,
But you, Sir, had better take wine ere your departure,
For you will have no friends about you
When you come to the gates of Go.

Separation on the River Kiang
By Rihaku
Ko-jin goes west from Ko-kaku-ro,
The smoke-flowers are blurred over the river.
His lone sail blots the far sky.
And now I see only the river,
The long Kiang, reaching heaven.

Taking Leave of a Friend
By Rihaku [Li Bo]
Blue mountains to the north of the walls,
White river winding about them Here we must make separation
And go out through a thousand miles of dead grass.
Mind like a floating wide cloud,
Sunset like the parting of old acquaintances
Who bow over their clasped hands at a distance.
Our horses neigh to each other as we are departing.

Leave-Taking Near Shoku
By Rihaku [Li Bo]
"Sanso, King of Shoku, built roads"
They say the roads of Sanso are steep.
Sheer as the mountains.
The walls rise in a man's face,
Clouds grow out of the hill at his horse's bridle.
Sweet trees are on the paved way of the Shin,
Their trunks burst through the paving,
And freshets are bursting their ice
In the mids of Shoku, a proud city.
Men's fates are already set,
There is no need of asking diviners.
[Der Staat Shoku = Shu. Die Stadt Shin = Chengdu. Rishogu = Li Guang].

The City of Choan
By Rihaku [Li Bo]
The phoenix are at play on their terrace.
The phoenix are gone, the river flows on alone.
Flowers and grass
Cover over the dark path where lay the dynastic house of the Go.
The bright cloths and bright caps of Shin
Are now the base of old hills.
The Three Mountains fall through the far heaven,
The isle of White Heron splits the two streams apart.
Now the high clouds cover the sun
And I cannot see Choan afar
And I am sad.

South-Folk in Cold Country
[Yip Wai-lim : By Li Bo]
The Dai horse neighs against the bleak wind of Etsu,
The birds of Etsu have no love for En, in the North,
Emotion is born out of habit.
Yesterday we went out of the Wild-Goose gate,
To-day from the dragon-Pen. (1)
Surprised. Desert turmoil. Sea sun.
Flying snow bewilders the barbarian heaven.
Lice swarm like ants over our accoutrements.
Mind and spirit drive on the feathery banners.
Hard fight gets no reward.
Loyalty is hard to explain.
Who will be sorry for General Rishogu, the swift moving,
Whose white head is lost for this province ?
(1) I.e., we have been warring from one end of the empire to the other, now east, now west, on each border.

Sennin Poem by Kakuhaku
[Yip Wai-lim : By Guo Pu].
The red and green kingfishers flash between the orchids and clover,
One bird casts its gleam on another.
Green vines hang through the high forest,
They weave a whole roof to the mountain,
The lone man sits with shut speech,
He purrs and pats the clear strings.
He throws his heart up through the sky,
He bites through the flower pistil and brings up a fine fountain.
The red-pine-tree god looks at him and wonders.
He rides through the purple smoke to visit the sennin,
He takes "Floaring Hill" (1) by the sleeve,
He claps his hand on the back of the great water sennin.
But you, you dam'd crowd of gnats,
Can you even tell the age of a turtle ?
(1) Name of a sennin.

Ballad of the Mulberry Road
Fenollosa MSS., very early)
[Yip Wai-lim : anonymous]
The sun rises in south-east corner of things
To look on the tall house of the Shin
For they have a daughter named Rafu (pretty girl),
She made the name for herself : "Gauze Veil",
For she feeds mulberries to silkworms,
She gets them by the south wall of the town.
With green strings she makes the warp of her basket,
She makes the shoulder-straps of her basket from the boughs of Katsura,
And she piles her hair up on the left side of her head-piece.
Her earrings are made of pearl,
Her underskirt is of green pattern-silk,
Her overskirt is the same silk dyed in purple,
And when men going by look on Rafu
They set down their burdens,
They sand and twirl their moustaches.

Old Idea of Choan by Rosoriu
[Yip Wai-lim : By Lu Zhaolin].
Yip Wai-lim : The original poem is 68 lines. Pound translated only the first sixteen lines.
I
The narrow streets cut into the wide highway at Choan,
Dark oxen, white horses, drag on the seven coaches with outriders
The coaches are perfumed wood,
The jeweled chair is held up at the crossway,
Before the royal lodge :
A glitter of golden saddles, awaiting the princess ;
They eddy before the gate of the barons.
The canopy embroidered with dragons drinks in and casts back the sun.
Evening comes.
The trappings are bordered with mist.
The hundred cords of mist are spread through and double the trees,
Night birds, and night women,
Spread out their sounds through the gardens.
II
Birds with flowery wing, hovering butterflies crowd over the thousand gates.
Trees that glitter like jade, terraces tinged with silver,
The seed of a myriad hues,
A network of arbours and passages and covered ways,
Double towers, winged roofs, border the network of ways :
A place of felicitous meeting.
Riu's house stands out on the sky, with glitter of colour
As Butei of Kan had made the high golden lotus to gather his dews,
Before it another house which I do not know :
How shall we know all the friends whom we meet on strange roadways ?

To-Em-Mei's "The Unmoving Cloud"
By Tao Yuan Ming, 365-427 A.D. [Tao Yuanming = Tao Qian]
"Wet Springtime", says To-Em-Mei, "Wet Spring in the Garden".
I
The clouds have gathered, and gathered, and the rain falls and falls,
The eight ply of the heavens are all folded into one darkness,
And the wide, flat road stretches out.
I stop in my room toward the East, quiet, quiet,
I pat my new cask of wine.
My friends are estranged, or far distant,
I bow my head and stand still.
II
Rain, rain, and the clouds have gathered,
The eight ply of the heavens are darkness,
The flat land is turned into river.
"Wine, wine, here is wine" !
I drink by my eastern window.
I think of talking and man,
And no boat, no carriage, approaches.
III
The trees in my east-looking garden are bursting out with new twigs,
They try to stir new affection,
And men say the sun and moon keep on moving
Because they can't find a soft seat.
The birds flutter to rest in my tree, and I think I have heard them saying,
"It is not that there are no other men
But we like this fellow the best,
But however we long to speak
He cannot know of our sorrow".

"I have not come to the end of Ernest Fenollosa's notes by a long way, nor is it entirely perplexity that causes me to cease from translation. True, I can find little to add to one line out of a certain Poem :
'You know ell where it was that I walked
When you had left me.'
In another I find a perfect speech in a literality which will be to many most unacceptable. The couplet is at follows :
'Drawing sword, cut into water, water again flow :
Raise cup, quench sorrow, sorrow again sorrow'.

[Final page]
There are also other poems, notably the 'Five colour Screen', in which Professor Fenollosa was, as an art critic, especially interested, and Rihaku's sort of Ars Poetica, which might be given with diffidence to an audience of good will. But if I give them, with the necessary breaks for explanation, and a tedium of notes, it is quite certain that the personal hatred in which I am held by many, and the invidia which is directed against me because I have dared openly to declare my belief in certain young artists, will be brought to bear first on the flaws of such translation, and will then be merged into depreciation of the whole book of translations. Therefore I give only these unquestionable poems."
E.P.
  • Document: Pound, Ezra. Cathay. Translations by Ezra Pound, for the most part from the Chinese of Rihaku [Li Bo], from the notes of the late Ernest Fenollosa, and the decipherings of the professors Mori and Ariga. (London : E. Mathews, 1915). = Pound, Ezra. Lustra. (London : Elkin Mathews, 1916). = Repr. (New York, N.Y. : Haskell House, 1973). [Enthält] : Pound, Ezra. Cathay und Exile's letter].
    Pound, Ezra. Exile's letter. In : Poetry : a magazine of verse ; vol. 5, no 6 (1915).
    http://ia600404.us.archive.org/3/items/cathayezrapound00pounrich/cathayezrapound00pounrich.pdf. (Pou15, Publication)
  • Person: Fenollosa, Ernest
  • Person: Li, Bo
  • Person: Pound, Ezra
2 1915.2 Pound, Ezra. Cathay [ID D29059]. (2)
Sekundärliteratur
1915
Arthur Clutton-Brock : "We do not know from the title of this little book whether Mr Pound has translated these poems direct from the Chinese or has only used other translations. But for those who, like ourselves, know no Chinese, it does not matter much. The result, however produced, is well worth having, and it seems to us very Chinese. There is a strong superstition among us that a translation should always seem quite English. But when it is made from a literature very alien in method and thought, it is not a translation at all if it seems quite English. Besides, a literal translation from something strange and good may surprise our language into new beauties. If we invite a foreigner of genius among us, we don't want to make him behave just like ourselves ; we shall enjoy him best and learn most from him if he remains himself. So we think Mr Pound has chosen the right method in these translations, and we do not mind that they often are 'not English'. The words are English and give us the sense ; and after all it is the business of a writer to mould language to new purposes, not to say something new just as his forefathers said something old. So it is the business of the reader not to be angry or surprised at a strange use of language, if it is a use proper to the sense. Mr. Pound has kept to the reality of the original because he keeps his language simple and sharp and precise. We hope he will give us some more versions of Chinese poetry."

1916
Arthur Clutton-Brock : "… His verse is not ordinary speech, but he aims in it at the illusion of ordinary speech ; and, thought this illusion gives an air of liveliness to the poems, it seems to us to be bought at too high a price. Certainly the original poems as well as the translations show that he has talent – one can read them all with some interest – but why should he use it to express so much indifference and impatience ? Why should he so constantly be ironical about nothing in particular ? He seems to have private jokes of his own which he does not succeed in making public. He seems to be always reacting against something ; and the very form of his verse is a reaction against exhausted forms. But nothing can be made of mere reaction or a habit of irony. The world may not be serious, but the universe is. One suspects a hidden timidity in this air of indifference, as if Mr Pound feared above all things to give himself away. A poet must be ready to give himself away ; he must forget even the ironies of his most intimate friends when he writes, no less than tha possible misunderstandings of fools…"

1918
Arthur Waley read a paper on 'The poet Li Bo, A.D. 701-762, before the China Society at the School of Oriental Studies in London, in which he gives his translation of Pomes no 3, 4, 8, and 14 of Cathay. "But I venture to surmise that if a dozen representative English poets could read Chinese poetry in the original, they would none of them give either the first or second place to Li Bo".

1938
Achilles Fang : Es wimmelt von orthographischen Fehlern, falschen Ämterbezeichnungen, verstellten Zeilen oder fehlenden Strophen. Öfter wird kein Dichter genannt oder ein falscher angegeben, noch dazu stets in japanischer Transkription.

1951
Hugh Kenner : "Cathay is notable, considered as an English product rather than Chinese product." These poems serve "to extend, inform, and articulate the preoccupations of the present by bringing the past abreast of it".

1965
A.C. Graham : "The art of translating Chinese poetry is a by-product of the Imagist movement, first exhibited in Ezra Pounds Cathay".

1970
Akiko Miyake : The vividness and freshness of Cathay as poetry depends more than anything else on Pound's effort to create his own Imagist poetry out of the unfamiliar materials. Fenollosa was a man with strong opinions on everything, and his individuality is shown in the notebooks. Even with his very limited knowledge of Chinese, he tried to reach the depth of the meaning by learning each word, each allusion. He aimed at more than scholarly accuracy, and Pound responded to such depth. He must have been fascinated by the task of groping for poetry underneath the unfamiliar surface. The greatest reward Pound got through writing Cathay comes probably from the fact that he could invent his own poetry even out of so remote a country as China, and of poetry in so ancient a period, for after writing Cathay, China became one of his indispensable themes. In writing Cathay, Pound by no means exhausted the rich resources of Fenollosa's essay. He did not even try the possibility of intellectual search with images in this little book.

1976
Monika Motsch : Im Gegensatz zu Chinese written character as a medium for poetry von Ernest Fenollosa [ID D22141], wird Cathay nicht angegriffen und abgelehnt, sondern anerkannt ; wenn nicht als wortgetreue Übersetzung, so doch als selbständige Dichtung. Die Anerkennung ist erstaunlich, da Pound in der Zeit, als er Cathay schrieb, kein einziges Wort Chinesisch konnte und auf Fenollosa's Notizen zurückgreifen musste, die fehlerhaft waren oder Lücken aufwiesen. Auch wenn Pounds Übersetzung voller Fehler ist, so hat er doch grundlegende Züge der chinesischen Sprache und Lyrik erfasst und im Englischen wiedergegeben : ihre syntaktische Einfachheit, die kommentarlos aufeinanderfolgenden, dynamischen Bilder, eindringliche Naturbeschreibungen und die emotionelle Verhaltenheit. Fenollosa hat Pounds Gesichtskreis ungeheuer erweitert. Er weckte sein Interesse an der Übersetzung alter Literaturen und regte ihn an zur Beschäftigung mit der chinesischen Lyrik und mit Konfuzius.
The River Merchant's Wife : Das Gedicht ist eine ziemlich genaue Übersetzung des chinesischen Originals. Pound hat nur einige Namen ausgelassen, die Europäer nur mit Hilfe eines längeren Kommentars verständlich wären. Der Stil kennt, wie die chinesische Sprache, kaum grammatische Über- oder Unt4erordnung, und logisch ordnende Partikel fehlen fast vollständig.
Poem by the Bridge at Ten-Shin : Das Gedicht setzt ein mit einfachen, klaren Hauptsätzen, die je eine Zeile einnehmen und dem Rhythmus eine getragene Ruhe verleihen. Die Verben sind teilweise weggelassen und der Rhythmus wird zunehmend dynamischer.
Leave-Taking Near Shoku : Dass es sich um ein Abschiedsgedicht handelt, geht nur aus dem Titel hervor. Die Trauer bleibt unausgesprochen. In drei kurz skizzierten, gegensätzlichen Naturbildern wird die Unsicherheit der Trennung um so deutlicher.
To-Em-Mei's "The Unmoving Cloud" : Die dritte Strophe ist bei Pound völlig anders als im Original und seine Version ist eher ein selbständiges Gedicht als eine Übersetzung.

1967
Yip Wai-lim : Cathay consists of only nineteen poems. Many people have translated at least five times as many from the Chinese ; but none among these has assumed so interesting and unique a position as Cathay in the history of English translations of Chinese poetry and in the history of modern English poetry. Considered as translation, Cathay ought to be viewed as a kind of re-creation. The poems are bound to differ from the originals in the sense that certain literal details are either eliminated or violated ; local tase is modified or even altered to suit the English audience and certain allusions are suppressed in order to relieve the readers from the burden of footnotes.
The criticism of Cathay fall into two obvious patterns : defense and condemnation. Most of Pound's defenders could not discuss the way in which some of the poems are said to be close to the original in the 'sequence of images', 'rhythm', 'effects', and 'tone'. Those who condemn Pound tend to concentrate on the scar and overlook everything els. To understand Pound is to widen the possibility of communication, and a clear measurement of Pound' achievement :
1. To look at the problems of translation from Chinese into English, and in particular, to discuss the difficulty of approximating in English the peculiar mode of representation constituted by Chinese syntax.
2. To look into Pound's mind as a poet, to know the obsessive concepts and techniques he cherished at the time he translated these Chinese poems and to see haw these conditioned his translation.
3. Since Fenollosa annotated these poems under Japanese instructors ('Rihaku', for instance, is the Japanese name for Li Bo), it is necessary for us to examine the triple relation, from the original Chinese to Fenollosa's notes and to the end products, in order to find out how the intermediary has obstructed Pound and how his creative spirit sometimes breaks through the crippled text to resurrect what was in the original.
4. No translator can claim to have actually translated the poetry. This is also true of Pound. How close, then, are the 'equivalents' he gets out of the Fenollosa notes to the original, the 'cuts and turns' of the Chinese poems ? In other words, we need to compare carefully the original and the derivative 'form of consciousness' to see what has actually happened in between.
In his dealing with Cathay Pound is able to get into the central consciousness of the original author by what we may perhaps call a kind of clairvoyance. Pound has indeed made many philological mistakes as a consequence of his ignorance of Chinese. But it is important to remind readers that not all of them are due to ignorance ; many are done deliberately to heighten artistic intensity, and some, for a less defensible reason, are conditioned by his own obsessions as a practicing poet.
The first poem Song of the bowmen of Shu is a reworking from Ariga Nagao's English version. It has followed the curves of the original's internal thought-form and the undercurrent of sadness. Pound has to admit that he has changed partially the character of the semi-monologue he has all the way dominated.

1967
D.B. Graham : While some of the Cathay poems have drawn wide praise and much analytical attention, Separation on the river Kiang has been faulted for its errors or else ignored. The criticism of this poem raises certain important questions about the critical perspective of the early Chinese translations. The usual charges against Cathay, and Separation on the river Kiang in particular, have to do with Pound's 'failure' to render literally the Chinese of Li Bo. They are chastising Pound for mistranslating and praising him for not translating. In Cathay Pound was not concerned with the quality of verse that he described as 'melopoeia', the 'musical property' of poetry. The 'melopoeia' Separation is achieved through several techniques. The first is the duplication of the monosyllabic pattern that constitutes the basic rhythmic unit of Chinese poetry. Metrically, the monosyllabic base helps Pound achieve a central aim, the breaking up of the dominant measure of English verse, the iambic. In addition to the 'melopoeia' of the monosyllabic structure of the poem, some 'melopoetic' effects are also accomplished by syntactical reduction. Of the prime characteristics of Chinese verse, none is more apparent or important than conciseness, terseness, economy. The key to Pound's succinctness lies in the syntactical order of subject / verb / complement, a formula that Fenollosa saw as central to Chinese verse. The ideogram attracted Fenollosa and Pound precisely because they viewed it as a direct expression of action. The music of Pound's poem is not confined to imitating the 'melopoetic' qualities of Chinese verse. Pound combines specifically Chinese traditions and English techniques to produce something both ancient and new. Like Fenollosa before him, Pound was attracted to the Chinese ideogram as a natural medium for poetry. Both saw the ideogram as bearing a direct, inherent relationship with the thing it names. Linguistically wrong, Pound and Fenollosa were pragmatically astute, for Chinese verse did depend heavily on concrete images, a reliance that made it a perfect medium of imitation for the imagists.

1971
Hugh Kenner : The 14 poems in the original Cathay were selected from some 150 in the notebooks, were the first 'vers-libre' translations not derived from other translations but from detailed notes on the Chinese texts. the Cathay poems paraphrase an elegiac war poetry. Perfectly vital after 50 years, they are among the most durable of all poetic responses to World War I.

1978
Antony Tatlow : In making his Cathay translations Pound had employed a method which took as its starting point the Chinese line and phrase. In those poems which stress the context of speech, the Chinese line of often broken up to meet the requirements of his own rhythmus. The form of speech is often stylized but the element of gesture is fundamental and is inseparable from Pound's sense of the present relevance of the poem.

1979
John Kwan-Terry : Pound's contemporaries spoke of the Cathay poems as adding 'a new breath' to the literary atmosphere and as 'like a door in a wall, opening upon a landscape made real by the intensity of human emotions'. I believe that the poems, besides being a stage in the technical development of Pound's poetry, also constitute an important chapter in the development of Pound's poetic sensibility. From the beginning, Pound's poetry sought to relate two seemingly disparate worlds – one, a world of irritating contemporary realities confronted by a vibrant vitality anxious to do battle ; the other, a world of aesthetic and mystic visions that seemed to transcend time and its wars altogether.
In the raw material provided by Fenollosa, Pound saw the possibility, or the possibility presented itself for him, to create or recreate a poetry that can integrate the high and the low, the ordinary and the transcendent.
Like the early poems, the Cathay poems are infused with a sense of loss, of desolation and loneliness, but on a wider scale. Reading these poems, one has the impression of vast distances and the partings and exiles that distances entail ; an empire so huge that its defenders and functionaries cannot know its purposes, and perhaps these purposes are absurd anyway ; distances also in time and history, so great that human glory cannot hope to outlast them. The social scope covered is equally impressive : war and peace, the high-born and the low-born, the intellectual and the domestic, the soldier and the poet, wife, husband, lover, friend. What sets these poems apart, is an achieved sense of harmony, of unity sought and found – the unity that integrates the contemporary reality with the self, the quotidian with the eternal moment. A quality of Chinese poetry that appeals to Pound strongly is the absence of 'moralizing', 'comment', and 'abstraction'. Cathay poems involve the subjective, but they do not convey the sense of being 'abandoned' which seems to be the prevailing ethos in modern literature and is so strong an element in Pound's poetry. There is less sense of the 'anguish' of being without God. There is resignation, but not despair.
The poetry conveys a sense of gratitude, a creative delight in experience, in the small moments of life. One of the greatest values in Cathay is that it can express the human need for relationship, and the ways in which the sense of identity is bound up with love.
For Pound, Fenollosa's theory seemed to come as a powerful criticism of the principles of Imagism. The implications in Fenollosa's essay, as Pound saw them, were that Imagism took too static a view of what poetry could perform. It conceived of the world as so many inert 'things', to be brought into juxtaposition, whereas the world is made up of 'energies', and a poems should be a sort of vortex, concentrating these energies. The Cathay poems mark a unique stage in Pound's career, a stage in which Pound's sensibility, interacting with the Chinese tradition, discovered a creative theme, a sense of the integrated man.

1985
Ronald Bush : Pound, maintaining the beautiful indirection of the poem The river-merchant's wife, transformed its subject. The implied emotional drama of the poem is one of love maturing before our eyes. The wife remembers herself as a little girl, recalls a time when she entered into an arranged marriage without much feeling, and then, spurred by the pain her husband's departure has provoked, slowly realizes how much she cares for him. At the end of the poem she dreams of his returning and achieves a poignant reunion by traveling a considerable distance in her imagination to meet him halfway. In Pound's hands, this poem becomes a dark reflection of its Chinese self and a recognizable cousin to the poems of blocked expression in the suite around it. In Pound's poem, to affirm her love for her husband, the wife must overcome not only the miles between them but also her own fugitive feelings of betrayal.
Comparing the Exile's letter to the notes on which it is based, Pound exaggerated Li Po's nostalgia for a past when poets were joined in true fellowship. Something extraordinary is created in his poem, not by a single friendship but by a poetic community that disdains gold and has forgotten kings and princes. It is this unique fellowship that allows the poets for once to speak out their 'hearts and minds without regret'.

1990
Qian Zhaoming : Cathay is a beautiful translation of classical Chinese poetry. It is considered as such because it has translated the charm and simplicity of the classical Chinese poems. To this one may add that it takes a great poet plus a great critic to translate great poetry. Though Pound is handicapped by his own ignorance of the Chinese language and Fenollosa's numerous misrepresentations, with his poetic sensibility and critical experience he is able to penetrate the shell and catch the quintessence. It is true that there are many deviations in his translation. But compared with what he has preserved, the presentation, the mood, and the whole image, his flaws are negligible and his triumph is great. It is through Pound that the English readers first get the original of such great Chinese poets as Li Bo. But Pound himself has also benefited from translating Chinese classical poetry. He is exposed to new sensibilities and new techniques, which in turn exert an important impact on him in his literary career, and through him also exert an important impact on modern English poetry.

1996
Robert Kern : Cathay is very much a production of creative reading, where 'creative' means not only inventive or fictionalizing but insightful and penetrating, both psychologically and philologically. Pound is nonetheless able to recover the movement of consciousness in his texts, even to the point of occasionally capturing elusive realities of voice and tone, an achievement which virtually demands that he go beyond strict dictionary meanings. Therefore, if he is also guilty of errors because of his ignorance of Chinese, or because he is misled by the uncertainties of Fenollosa's notes, sometimes his inaccuracies are conscious and deliberate, committed for the sake of greater artistic intensity and even on behalf of 'his own obsessions as a practicing poet'. The poems in Cathay are not only sometimes acutely 'accurate', despite their deviations from dictionary sense, but are continuous, thematically and in other respects, with the rest of Pound's work. What need to be stressed is the extent to which he as deliberately pursued this continuity, and it is under the category of his 'obsessions as a practicing poet', that Pound's acts of Orientalizing or creative reading should be placed. Cathay appropriates Chinese poetry for purposes other than those of Chinese poetry itself. Pound is using the Chinese texts as a drawing board for the creation of a modernist style or technique, he is also already practicing it, in the sense that modernism in general may be defined as an activity of appropriation, a series of strategies, such as allusion, collage, and what Pound would later call 'the ideogrammic method', for incorporating other texts, other voices, other perspectives within one's own, and for shoring up, the ruins of the modern world, amassing the cultural valuables of the past and increasingly of other, non-Western cultures in order to restore coherence and stability to modern experience, or to create them anew. At the same time, he seems to be moving beyond imagism, and in many of the Cathay poems, which reflect Pound's reading of Fenollosa's essay, we find less of an emphasis on the image as 'itself the speech', less reliance on the technique of superpositioning as a structural resource, and less of an appeal in general to strict imagist orthodoxy as a means of producing the Chinese poem. Pound invents Chinese for his English reader by defamiliarizing his English. This process takes several forms in Cathay, one of the most important of which is both Fenollosan and imagist. Writing for Pound, during this period, is a process of stripping words of their associations in order to arrive at their exact meanings and this process is itself a form of defamiliarization, of discovering and presenting arrangements of language that emphasize their own strangeness with respect to more conventional, or historically and culturally conditioned, modes of expression.

1998
Grace Fang : Pound found Chinese poetry and ideograms to be the perfect means of expression for his creative resources and convictions. His translations provided him with a new opportunity to recreate the source text and to activate dynamic responses in the reader, which reflect a vivid Chinese picture through Western eyes.
Not every character is a picture, and even when most Chinese people use a character originally created as an imitation of the shape of a object, they will not be aware of its etymology. Chinese language derives much of its poetic power from its three-thousand-year development of these phonetic and semantic devices. It also functions as a normal communicative language in which the form of the character does not stand for its original visual form but for the meaning it conveys. There is an arbitrary relationship between sign and meaning, and the character represents not the original natural image but the conventional signification. A Chinese character can stand by itself as 'a word' or can be combined with one or two or three other characters to from 'a word', which would lead the character to lose its own original meaning and to gain a new significance in the combination as a compound word. Therefore, the ideogrammic method either risks over-emphasizing the etymological meaning of the separated part of the character or mistaking the individual signified for the significance of a whole compound word. Fenollosa and Pound show great concern for the language they deal with, but to over-emphazise the philological sense at the expense of other considerations, such as the total textual structure, rhyme, and 'original meaning' refined by the original poet, is dangerous, particularly when the translator has not established his expertise in the source language. Misinterpretations and mistakes are bound to happen.
Pound's Cathay is a poetic performance across three culture, three languages (Chinese, Japanese, English), to be synchronized in his own poetic voice. Although Pound may sometimes have conveyed certain wrong meanings, most of the time he has conveyed the right feeling. Although he does not understand all the words, he has remained as faithful as possible to the original poet's sequence of tone, voice, rhythms and images.

1999
Eric Hayot : The differences between Arthur Waley and Pound notwithstanding, it is vital to notices how far they both are from Herbert A. Giles' attempts to turn the Chinese poem into an English one. Relative to Giles's, Pound's translations allowed the poems to stay strange, English enough to read but Chinese enough to represent their own difference. He was essentially 'rebuking' Giles for not making his translations Chinese enough, for bringing them too far into English. Waley's rebuke of Pound criticizes Pound for doing exactly what Pound didn't like about Giles, namely for making the poems too English, and for not adequately respecting their originals. Pound's translations impress more than Waley's precisely because they have something poetic about them. Pound was, at times, wrong both about the specifics of his language and the general tone of the poem.
Despite the vast differences in their literary reception, it can be helpful to consider differences between Giles, Pound, Waley and Yip matters of degree rather than king. Each translator attempts to bring across more or less of the Chinese difference by putting it in a literary or cultural language more or less comprehensible to English readers, most of whom know little about China. Inevitably, the translation will carry with it aspects of English language and culture not justified by any mood or motive of the original text.

1999
Ming Xie : The connection between Pound's haiku images and his earlier epigrams might be viewed as the logical precedent for what Pound set out to do in Cathay. Pound's apparent ignorance of Chinese and Chinese literary forms has perhaps enabled him to modulate and transpose freely the original Chinese poems in terms adapted to his own generic experiments and expressive consideration. He was perhaps fortunate enough not to be in a position to render literally from the original Chinese ; he evidently derived a stimulus to innovate forms of a more immediate expressiveness from this ostensibly unpromising activity, that of translating from a language not fully understood. The Cathay poems display the importance of a certain kind of provincialism of feeling, feeling deeply rooted in details of the actual circumscribed world of the protagonists. Pound and Thomas Hardy are often concerned with the reality of memory and retrospection, regret and melancholy, time and isolation.
The use of natural imagery in the poems is often of primary importance. There is a natural relation of the natural setting to the speaking and observing persona in the Cathay poems, as well as a sense of distance that separates the observer or speaker from the natural world that he or she observes. But the resulting tension is precisely what is most important in any good poems.
The individual perspective in Cathay is for the most part retrospective and is almost always tinged with an elegiac coloring. This elegiac coloring is not a general, all-pervasive mood or atmosphere enveloping or devouring the individual speakers in the poems. It also often tends to leave the emotional stance of the translating poet in a kind of sympathetic neutrality, not by any implicit collusion expressing his own personal elegiac feeling.
The Cathay poems as a whole do not provide some extraordinary moral perspective in which the reader would be invited to judge morally ; rather, they almost invariably invite the reader to participate and sympathize in an ordinary highly individualized emotional or psychological perspective, except that the exotic and unfamiliar context makes this for the Western reader 'ordinary' only by an act of consciously maintained vicarious projection.
The river-merchant's wife : In Pound's version the emotion of the woman speaker is presented within her confined perspective through particular stages of emotional development and psychological retrospection, out of which emerge different shades of meaning and significance. Pound divides the poem into different stanzas or strophes, in order to delineate more sharply and contrastively the successive stages of retrospection and revelation. In the Chinese poem, due to lack of specified relations of tense or number, the narrative sequence is not explicitly established by syntactical markers.
Pound has largely ignored Fenollosa's theory of the transitive verb. His Cathay displays a surprisingly wide variety of poetic techniques and rhetorical structures neglected in Fenollosa's treatise, especially in the use of paratactic and anaphoric constructions. These devices do not in fact originate with Cathay ; rather they are a continuation of Pound's earlier practices and experiments. But it is nevertheless evident that Pound's extensive use of these structures is based upon his intuitive sense of their importance and significance in the original Chinese poems, as confirmed in large part by Fenollosa's often detailed notes and literal versions.
The language of Cathay was colloquial, prosaic, and contemporary ; it did not try to cast the original Chinese in correspondingly archaic or antiquarian English, as was often Pound's practice. Cathay is an example of a strong tendency in Pound to regard translation as not historical but contemporary or timeless. Pound's versions seem to come nearer to the real qualities of Chinese poetry, because he has largely stripped away most of the supposed or fictitious qualities that late-Victorian poetic treatment (by James Legge, Herbert Giles) had imposed upon classical Chinese poetry. The success of Cathay is also largely due to Pound's tacit and skillful reliance upon a stylized evocation of China. The use of Chinese landscape seems to provide a powerful confirmation of the kind of 'otherness' which Western readers tacitly identified with an emotional coding linked to understood conventions of feeling in Chinese art and poetry.

2000
Sylvia Ieong Sao Leng : Ezra Pound's Cathay had gone through two rearrangements before it was brought out by Elkin Mathews in April 1915. Originally, the sequence was made up of eleven poems. The Cathay typescript at the Beinecke Library shows that Pound had added four poems to the original eleven when he submitted the sequence to Mathews. In the last minute, pound ‘suppressed the four appended poems and added 'Lament of the frontier guard' and 'South – folk in cold country'. In 1916 when Pound incorporated Cathay into Lustra, he restored the four suppressed poems.

2003
Barry Ahearn : Pound leads his readers to believe that the original Chinese verses are of such high quality that even inexpert translators cannot greatly harm them. In Chinese poetry he cites two poems as examples of how Chinese and Western poetic practices share common ground. In respect of The jewel stairs' grievance he illustrates how the Western reader should approcach the poem : "I have never found any occidental who could 'make much' of that poem at one reading. Yet upon careful examination we find that everything is there, no merely by 'suggestion' but by a sort of mathematical process of reduction. Let us consider what circumstances would be needed to produce just the words of this poems. You can play Conan Doyle if you like."
Pound first shares the burden with Fenollosa, Mori Kainan and Ariga Nagao (though on closer inspection, he calls their abilities into question and transfer credit to the poems themselves. Second, he contends that the poems have qualities (some of which he specifies and some of which he does not) that make them amenable to translation. There is also a third strategy Pound employs to divert the readers' attention from his role as translator. This third strategy is to include images in the poems that will strike the reader as recognizably Chinese because these images already seem Chinese, thanks to existing Western preconceptions about China. He adopted various strategies to suggest the virtual identity of Chinese poetry and Western literary forms. But he also 'foreignized' the translations to remind his readers that there were unavoidable differences. Pound uses complicated means to make his translations seem authentically 'foreign' – complicated because they depend upon delicate adjustments of diction.
In his attempt to make the language of Cathay on occasionally bizarre form of English, Pound does not limit himself to nouns and verbs. He well knew that some of the most perplexing problems for a novice translator arise from some of the simplest words. The effect of verbal perplexities is to produce a strange impression, the impression that this translation has been produced not by Ezra Pound, but by a native speaker of Chinese whose command of English is less than fluent. Pound inserts a sufficient number of odd expressions in the poems, with the intention of leaving the reader with the impression that even though these English versions may be imperfect, there must lie behind them a superior Chinese original.
Pound's treatment of the poems in the Fenollosa papers adopts a divided stance : the Chinese poems are like Western ones ; the Chinese poems are in many respect alien.

2007
Choi Hongsun : Pound departs from his Anglocentric conversion and takes a centrifugal attitude toward otherness of the other. He attempts to foreground the cultural and linguistic otherness of Chinese poetry and to revive its own poetic qualities in his translated poems. Pound the poet searches for 'dynamic equivalence' in consideration of the receptor language and culture. This target language oriented approach has a centripetal focus on a new poetic English that is filtered through translation. Thus, such otherness is incorporated into the Pound's own creative work. Pound's translation of Chinese poetry maintains the precarious tension between two different translating strategies : formal equivalence and dynamic equivalence. Cathay demonstrates Pound's attempts to foreground the otherness of the Chinese original to further the potential of English poetry through the appropriation of such otherness. In regards to formal equivalence, Pound the translator pursues a text to be equivalent, rather than equal, to the distinctive aspects of Chinese poetry. He thus foreignizes English in an attempt to reflect the poetic otherness of the original. At the same time, while his translation is oriented toward dynamic equivalence, such otherness is incorporated into his whole poetic arsenal of English, so that Pound the poet invents a new English stranger than the original Chinese. Even concerning dynamic equivalence, his translated language never gets domesticated conventionally, but rather it must be identified as somewhere between the source language and the target language. In this way, Cathay marks an important turning point in the history of Chinese translation as well as in Pound's own literary career.

2012
A. Serdar Öztürk : The image, the ideogram itself, if it is to be effective, depends greatly on the beauty and the force of the image, the ideogrammic component. That Pound was successful in translating the Chinese image is everywhere attested in Cathay. Which ties the poem together is not so much the narrative as the succession of images. The Imagists concern for concentrated expression and Pound's definition of the image as 'an intellectual and emotional complex in an instant of time' would lead one to believe, that most of the poetry in Cathay would tend toward brevity. Although there are a representative number of short poems, the greater number is rather long. To account for the ability to sustain an image in a poem of more than a few lines, or even a few stanzas, one must turn again to the effectiveness of ideogrammic juxtaposition.
  • Document: Clutton-Brock, Arthur. Poems from Cathay. In : Times literary supplement ; April 29 (1915).
    Clutton-Brock, Arthur. Lustra : the poems of Mr Ezra Pound. In : Times literary supplement ; Nov. 16 (1916).
    In : Gross, John. The modern movement : a TLS companion. (Chicago, Ill. : University of Chicago Press, 1992). (Pou93, Publication)
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    http://www.jstor.org/stable/pdfplus/2718526.pdf. S. 221. (Pou29, Publication)
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  • Document: Motsch, Monika. Ezra Pound und China. (Heidelberg : Winter, 1976). (Heidelberger Forschungen ; H. 17). Diss. Univ. Heidelberg 1971. S. 24-26, 28, 31-33, 36, 40-41, 51. (Mot3, Publication)
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  • Document: Kern, Robert. Orientalism, modernism, and the American poem. (Cambridge : Cambridge University Press, 1996). (Cambridge studies in American literature and culture ; 97). [Enthält] : Modernizing orientalism / orientalizing modernism : Ezra Pound, Chinese translation, and English-as-Chinese. S. 190-193, 201-202. (Pou64, Publication)
  • Document: Fang, Grace. Mirrors in the mind : 'Chinoiserie' in Ezra Pound's translations of Chinese poetry. In : Norwich papers ; vol. 6, Dec. (1998).
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  • Person: Fenollosa, Ernest
  • Person: Li, Bo
  • Person: Pound, Ezra
3 1925-1969 Pound, Ezra. The cantos.
Sekundärliteratur allgemein
1972
David Happell Hsin-fu Wand : The role of Chinese mythology in Ezra Pound's Cantos :
1) It provides him with some of the major symbols of his Pisan Cantos and subsequent cantos.
2) It provides a further means of his emerging from his Purgatorio into his Paradiso.
3) It lends him a proper guide and a vision of heaven.
4) It makes the Cantos cohere.
Furthermore, it makes him forget his prejudice against Taoists and Buddhists, to whom he is indepted for the Chinese myths and symbols in The Cantos.

1976
Monika Motsch : Die organische, kosmische ('ideogrammatische') Denkweise, die Pound im Konfuzianismus bewunderte, wird weiter entwickelt und ist die Philosophie der Cantos. Der konfuzianische Kosmos – so wie ihn Pound auffasste – bildet den weitern Rahmen, in dem sich die Gestalten der Cantos bewegen, Odysseus und Konfuzius, die griechischen Götter und die Kaiser des chinesischen Altertums. Das Gegenthema von Kund und Eleusis ist Usura. Im Laufe der Cantos sammeln sie immer mehr Assoziationen um sich, die aus den verschiedensten Geschichtsepochen und Kulturen stammen : 'Kung' bezieht sich auch auf die Naturlyrik, die Yin- und Yang-Lehre und die frühe amerikanische Geschichte, 'Eleusis' auf die Hadesfahrt des Odysseus und die Götter Aphrodite und Dionysos. In den 'Pisan Cantos' formt sich aus den vieldeutigen gegensätzlichen Komponenten von 'Kung und Eleusis' für Augenblicke das visionäre Bild einer neuen Gesellschaft und Kultur. Die Philosophie der 'Cantos' ist viel stärker an China als am Western orientiert. Die Natur ist das Grundelement.

1988
Chang Yao-hsin : Pound saw no effective cure in Christianity for the disease of his times. He even lost faith in the value of Greek literature and philosophy. When he turned East, he found a messiah in Confucius, who enunciated 'the principle of the good' and the medicine for the disease of the West in his Ta hio. Confucius, Pound believed, could enlighten and civilize the barbarous Occident. The wisdom of the Confucian classic Da xue was, as he saw it, not yet exhausted and indeed inexhaustible. Order and tranquility come from enlightened rule, and two salient features of Confucian enlightened rule are equitable distribution of wealth and light taxation. These ideals constitute the thematic concerns of the Chinese cantos.
A major thematic concern in The cantos is the treatment of usury, which takes up an enormous amount of space.

1997
Mary Paterson Cheadle : Pound's adaptation of the ideogrammic method for poetic use in The cantos stems as much from his attention to the essentialness of verbal motion and the priority of concrete particulars as from his care for the forceful juxtaposition of words and lines. A respect for individuality is what Pound found most essential to Confucianism initially.
The cantos are an enormous tapestry, a 'Guernica' of the compendious fields of study that Pound entered, with little apparent trepidation, over the fifty years or more of his career : not only China and Confucianism, but Ovidian and Homeric polytheism ; Renaissance Italy, medieval Provence, and Neoplatonic light philosophy ; nineteenth- and twentieth-century America and modern Europe. The Pisan cantos are the work of a poet who is watching his life pass before his eyes because he sees the life of the vision he hoped for suddenly draining away. After 1945, the West for Pound was barren of paradise or it was content with mockeries and imitations. The cantos are a record of this movement through hell and purgatory, toward and away from paradise. But in respect to Pound's Confucianism they are an incomplete record. The greatest influence of Confucianism in The cantos begins in the Pisan cantos, because they were written at the same time, in fact in the same notebooks, as Pound's translations into English of his original Italian versions of The great diegest and The unwobbling pivot. By the time of Rock-drill and Thrones, Pound had completed The analects and The classic anthology defined by Confucius. There are therefore many more Confucian references in these later cantos than in the earlier cantos. The Confucian elements of the China cantos derive not from the Book of history or any of the other Confucian classics but from De Mailla's Histoire générale de la Chine. Rock-drill cantos are written on the basis of the Shu jing, Thrones are gleaned from an eighteenth-century Confucian document. Mengzi is an important source for cantos LXXVII, LXXXVII, LXXXIII, LXXXVIII and XCIV.
Many Confucian concepts are presented in the form of Chinese words or phrases. Especially when they are printed large, these words are visually striking and contribute dramatically to the sculptural effect of Pound's free verse. Too much attention to the visual, often spectacular nature of The cantos' characters can obscure their most important property : the specific, concrete nature of their definitions according to Pound, and the profound relevance, he was convinced, of those significations to the West.
What is more important for Pound in the China cantos than the attaching of any generalizable significance to women in Chinese history is the establishing of the centrality of sound economics in the great Confucian periods of Chinese history. Many of the emperors are portrayed as having been great not only because of their sound economic policies but because of the reverence for 'heaven' and the spirits of ancestors that they show through proper observance of ritual.
Like the importance of study, the importance of teaching is implied everywhere in The cantos, the central purpose of which is not only to record modern history but even more, to lead the West toward 'a paradiso terrestre'.

2003
Sun Hong : The Cantos is a manifesto in which Pound proclaims Confucianism as a 'medicine' for the ills of Western civilization. What the poet discovers in Confucianism is not merely a few abstruse philosophical formulas. For him truth exists in harmony and order, in the concrete beauty of this world, an elegance revealed by Confucian canons, particularly those in the Confucian classics. In the Cantos Pound endeavors to present his discovery of this cosmos of truth and beauty. By calling the Cantos 'a long poem', Pound made clear that he was not interested in the rules of an epic. He was aware of the lack of epic quality. Critics have called the Cantos a 'colossal failure', a 'gigantic mess', without any 'major form'. For Pound, order is synonymous with beauty. In his effort to forge this beauty out of chaos, he is unlike other poets who go back only to Homer, trying to evolve and order out of this mythological tradition. Pound pushes his frontier far beyond that point, both in time and space. For him, the frontier is on the other hemisphere, in China, whose civilization of greater antiquity. This nation has shown unusual power of survival, absorbing all foreign influences without losing its own identity. In this ancient culture Pound sees Confucianism.
Pound aptly uses ancient Chinese mythology and history as illustrations. His adoption of the Confucian standpoint of history also coincides with his turning away from his early idea of the epic as a 'beautiful story' to his later definition of it as 'a poem including history'. This shift reflects his commitment to what he previously referred to as 'the modern world'. The scope of a traditional epic should be altered and extended to suit modernism. Pound's aim is to create a new model for the new world.

2003
Britton Gildersleeve : Scholars have dealt with elements of the mystic within The cantos. Almost all seem to privilege Western mythologies even when treating Eastern materials. This is especially evident in their analyses of Kuanon [Guanyin], who figures in a number of the Cantos. For Pound, Kuanon – in addition to her traditional functions within the Buddhist pantheon – is a female figure who eludes easy delineation, one who draws upon a legacy of androgyny and Orientalist perspectives to become daughter, mother, wife, and lover in a feminine ideogram that ultimately partakes of both Eleusinian and Eastern mysticism. Juxtaposing various elements of the feminine, Kuanon is the enigma at the heart of Pound's flawed journey-quest toward mystic union with the divine. In general Pound is no fan of Buddhism. When he mentions it in the Cantos, it is almost always with negative inflection. It is not the ultimate spiritual objectives of Buddhism that Pound satirizes, it is both the abuses of power to which no systematized religion is immune, and perhaps more critically, Buddhism's goal of nonattachment to everyday affairs. Given Pound's 'constant concern for good government', Buddhism's emphasis on the transience and unimportance of the temporal and worldly – in contrast to Confucianism's focus on the sociopolitical matrix – is, for him, unacceptable. He couples Buddhism with maternity and infantilism, with decadence and corruption, with emasculation in both the literal and figurative senses of the term. This negative feminization of Buddhism differs from his handling of the Buddha himself. The inference is that the Buddha does have the power to awaken, that his name is deserved.
Pound sees parallels between Buddhism and Christianity that are incompatible with his own political agenda. Unlike his views of either Buddhism or Christianity, Pound sees Confucianism as predicated on right behavior in social context, in contrast to Buddhism's major element of nonattachment. He view Confucianism as more logical and useful for his own project : to critique the spiritual excesses he sees in Christianity and Christian states. 'The ethic of Confucius and Mencius', Pound notes, may be used 'to better advantage' with 'Occidentals than may Buddhism', while Confucianism better 'serves as a road map through the forests of Christian theology'.

Canto XIII (1930)
Kung walked
by the dynastic temple
and into the cedar grove,
and then out by the lower river.
And with him Khieu, Tchi
and Tian the low speaking
And "we are unknown", said Kung,
"You will take up charioteering ?
Then you will become known,
"Or perhaps I should take up charioteering, or archery ?
"Or the practice of public speaking ?"
And Tseu-lou said, "I would put the defences in order",
And Khieu said, "If I were lord of a province
I would put it in better order than this is".
And Tchi said, "I would prefer a small mountain temple,
"With order in the observances,
with a suitable performance of the ritual",
And Tian said, with his hand on the strings of his lute
The low sounds continuing
after his hand left the strings,
And the sound went up like smoke, under the leaves,
And he looked after the sound :
"The old swimming hole,
"And the boys flopping off the planks,
"Or sitting in the underbrush playing mandolins".
And Kung smiled upon all of them equally.
And Thseng-sie desired to know :
"Which had answered correctly? "
And Kung said, "They have all answered correctly,
"That is to say, each in his nature".
And Kung raised his cane against Yuan Jang,
Yuan Jang being his elder,
For Yuan Jang sat by the roadside pretending to be receiving wisdom.
And Kung said `
"You old fool, come out of it,
Get up and do something useful.''
And Kung said
"Respect a child's faculties
"From the moment it inhales the clear air,
"But a man of fifty who knows nothing
Is worthy of no respect.''
And "When the prince has gathered about him
"All the savants and artists, his riches will be fully employed.''
And Kung said, and wrote on the bo leaves:
If a man have not order within him
He can not spread order about him;
And if a man have not order within him
His family will not act with due order;
And if the prince have not order within him
He can not put order in his dominions.
And Kung gave the words "order''
and "brotherly deference''
And said nothing of the "life after death.''
And he said
"Anyone can run to excesses,
"It is easy to shoot past the mark,
"It is hard to stand firm in the middle.''
And they said : If a man commit murder
Should his father protect him, and hide him?
And Kung said :
He should hide him.
And Kung gave his daughter to Kong-Tchang
Although Kong-Tchang was in prison.
And he gave his niece to Nan-Young
although Nan-Young was out of office.
And Kung said "Wan ruled with moderation,
"In his day the State was well kept,
And even I can remember
A day when the historians left blanks in their writings,
I mean, for things they didn't know,
But that time seems to be passing."
A day when the historians left blanks in their writings,
But that time seems to be passing.''
And Kung said, "Without character you will
be unable to play on that instrument
Or to execute the music fit for the Odes.
The blossoms of the apricot
blow from the east to the west,
And I have tried to keep them from falling."
Sekundärliteratur zu Canto XIII
1976
Monika Motsch : Canto XIII richtet zum ersten Mal den Blick voll auf Konfuzius. Dieser Canto besteht fast vollständig aus Zitaten des Lun yu, Zhong yong, Da xue und Mengzi. Der Satzbau ist klar und einfach und besteht meist aus aneinandergereihten, häufig parallelen Hauptsätzen. Niemals werden die Sätze elliptisch verkürzt und die Verben weggelassen, wie dies in den ersten Cantos häufig geschah. Die vielen Wiederholungen schaffen eine Analogie zu der im Grunde einfachen und unkomplizierten Lehre des Konfuzius. Der häufigste Zeilenbeginn ist die reihende Partikel 'and'. Sie verbindet die isoliert dastehenden Aphorismen und schafft zwischen ihnen sozusagen 'gleichzeitige' Zusammenhänge. Das Bild, das Pound von der konfuzianischen Lehre entwirft, ist stellenweise zu sehr von der Aufklärung beeinflusst. Vor allem aber wird das Prinzip 'Ordnung' überbetont, ein Begriff, der bei Konfuzius niemals vorkommt, währen in Wirklichkeit 'Humanität' die Leitidee von Konfuzius ist.
1988
Chang Yao-hsin : Canto 13 shines with the light of Confucius. Confucianism undergoes a rigorous process of 'telegraphic abbreviation', so much so that, to those who know little about and share none of his faith in Confucianism, Pound is indeed offering platitudes for profound verities. But he manages to keep the quintessence of Confucianism intact. The canto begins with a lyric representation of Confucius, chatting at leisure with his disciples, which is a way of presenting Confucius's ideal of harmony. Pound also touched in this canto upon Confucius's doctrine of the mean and upon his call for moderation, radical and extreme to a fault. Pound felt that humanity deserves better than it gets, and it deserves the best. He saw a chaotic world that needed setting to rights and a humanity, suffering from spiritual dearth and cosmic injustice, who needed to be saved.
1997
Mary Paterson Cheadle : Pound's translation of Canto XIII based on Pauthier's La grand etude, L’invariabilité dans le milieu et Les entretiens philosophiques.
A distrust of elders and rulers and a respect for individuality is not all Canto XIII offers in its presentation of Confucianism, what became increasingly important to Pound was Confucianism's social and political orientation and its concern for 'order'.
2003
Qian Zhaoming : Pound's infatuation with China is infatuation with both Chinese art and Chinese poetry. In inventing his Confucius in Canto 13, he cannot but open and close in a fashion that recalls at one Chinese painting and Cathay. Confucian maxims in translation tend to be disturbingly elusive. Working his way through Pauthier's Confucius, Pound is bound to represent only what he can appreciate. There are a number of factors contributing to his selection decisions. Of these, the Chinese pictures stand out in his memory. It is inappropriate to overemphasize their impact, and it is also inappropriate to underestimate it. Just as Chinese poets and artists can alternate between Confucianism and Daoism, so Pound, influenced by them, can take advantage of both philosophies. In The cantos, Pound does return again and again to a Confucian theme. Nonetheless, the aesthetic sensibility that threads through the poem is in accord with Daoist ideals.

Canto XLV (1937)
http://www.poetryfoundation.org/poem/241052.
Sekundärliteratur
1976
Monika Motsch : Die drei Leitmotive Kung, Eleusis und Usura treten in den Vordergrund. Jedoch haben sie sich verwandelt und weiterentwickelt. Usura vernichtet nicht nur alle konfuzianischen Werte, sondern auch die Kraft von Eleusis.

Canto XLIX (1937)
For the seven lakes.
http://www.poetryarchive.org/poetryarchive/singlePoem.do?poemId=7168.
Sekundärliteratur
1928
Qian Zhaoming : Pound got a fourteen-fold screen book with Chinese and Japanese ideograms from his aunt. It consists of eight ink paintings, eight poems in Chinese and eight poems in Japanese, mutually representing eight classic scenes about the shores of the Xiao and Xiang rivers in Hunan. Pound was not able to decipher the eight Chinese poems drawn in three calligraphic styles.
Zeng Baosun offered Pound a translation of eight Chinese poems that contributed to Canto XLIX. A transcript of Zeng's oral translation has been found in an unmailed letter Pound worte to his father. From Zeng, Pound have learned everything about China's tradition of 'making pictures and poems on that set of scenes'.
Pound's sourcebook represents a Far Eastern tradition of making pictures and poems side by side on a theme of great masters. Pound inserts a version of the eight views in the middle of his modernist epic. The subject is a monument of Chinese culture, and example of how poets and artists in China have continuously made an old theme new. All remarkable copies of the views have been accepted as such because of their originality. For Pound modernism also demands originality, originality allowing him to interweave texts and make statements about history and politics.
1976
Monika Motsch : Es entsteht das Bild einer harmonisch geordneten Gesellschaft und die konfzianische Lehre wird Teil einer grossen Kosmologie. Der Canto beginnt mit fragmentarischen, chinesischen Gedichten, die von Daniel D. Pearlman in The barb of time identifiziert wurden. Nicht der Mensch und seine Gefühle stehen im Vordergrund, sondern der Kreislauf der Natur, Himmel, Wolken, Bäume und Wasser. Die Naturbilder sind einfach und genau und deuten einen Abschied an, bei dem individuelle Gefühle völlig unausgesprochen bleiben.

The Chinese history cantos LII-LXI (1940)
Notebooks of Ezra Pound
32 LIII-LIV, 282, 31 Earliest times to the Chin dynasty, 399 AD
33 LIV, 282, 32-LVI, 306, 18 Early fifth century AD to mid-Mongol era, 1347 AD
34 LVI, 306, 19-LX, 331, 22 Mid-Mongol era to mid-Ch'ing dynasty, 1717 AD
35 LX, 331, 23-LXI to end Mid-Ch'ing, 1717, to mid-reign of Ch'ien-lung, 1780 AD
Sekundärliteratur
1970
Akiko Miyake : The whole of Cantos LII-LXXI can be interpreted either as actual Chinese history and the life and works of John Adams or as some intricate patterns formed by Chinese and Greek-American paideuma, or as some lovely images which the interactions of the divine light and accidental shadows produce. The Chinese people attempt to return to the golden age of the legendary emperors, Yao and Shun, by destroying the corrupt ruler and thus resurrecting the national paideuma, so that one can call this war paidumatically a revival of national life. One of Pound's aims was to liberate the Platonic essence of beauty and knowledge from the poet's own psyche, from its time-bound situation in the poet's historical memory, in order to realize man's eternal state of mind, a paradise. He associated social order in the Chinese state with the divine order which Erigena's heavenly light formed in its own self-division.
Canto LII describes the official calendar of the Chinese empire, established in the reign of Yao (B.C. 2356) or Shun (B.C. 2255).
Canto LIII : on my interpret the canto as Pound's description the division of the heavenly light, passing from the age of rituals to the age of ideals.
The rest of the Chinese history cantos can be interpreted as the cyclic repetitions of the renewal of the established culture at more or less regular intervals. Pound's study of Mencius probably helped him much to understand how the Chinese people attributed such renewal of the national life to good rulers' observance of Confucian philosophy.
In Canto LIV one finds the cycling and reappearing of the heaven-begotten light, the Canto can be regarded as the description of the light returning to its origin and bringing the people to a more original form of Metamorphosis. Destructive and constructive elements form intricate patterns of history through minor dynasties, between the fall of Tang the and rise of Song.
Canto LVI makes a recapitulation of the cycling patterns of history.
In Canto LVII Pound suggests that Ming turned out to be a very dubious phoenix in Chinese history.
In Canto LIX Pound shows how the Manchurian emperors were serious in their following of the Confucian paideuma of China, so that their force marched on 'spreading light on proceeding'.
Canto LX celebrates the golden age Kang Hi brought back to China. The frontier land in the West was pacified by the expedition of the emperor, who observed the sun as Yao did.
Canto LXI can be read as showing the final return of the light to its original forms

1976
Monika Motsch : Die Verbindung von 'Kung und Eleusis' taucht nicht nur in den konfuzianischen Übersetzungen häufig auf, sondern bestimmt auch die Struktur der Cantos. Zwischen dem Mythos von Eleusis und der altchinesischen Idealfigur des Königs Wen entdeckt Pound gemeinsame Berührungspunkte. Im Gegensatz zu James Legge erweitert Pound den Text und stellt die Humanität des Königs durch einzelne Handlungen und präzise Umschreibungen lebendig dar.
Pound versucht die konfuzianische Lehre an geschichtlichen Beispielen darzustellen. Dies gelingt ihm jedoch nur sehr unvollkommen ; die gleichen Ideen werden in ständiger Wiederholung vorgetragen, vor allem die Abneigung der konfuzianischen Herrscher, die sich auf Kosten des Volkes bereichern. Alle Nichtkonfuzianer, schlechte Kaiser, Taoisten und Buddhisten werden attackiert. Die Konfuzianer dagegen werden gepriesen und über ihre Fehler, Pedanterie, starres Festhalten an Traditionen, wird geschweigt. Man bekommt den Eindruck, dass die Konfuzianer in China eine glückliche Harmonie des ganzen Volkes bewirken, und es nur den üblen Machenschaften der Taoisten und Buddhisten zu verdanken war, dass dieses Paradies immer wieder zerstört wurde. Pound hat das Vorurteil von Mailla, Joseph-Anne-Marie de Moyriac de. Histoire générale de la Chine ziemlich kritiklos übernommen.
Die chinesischen Cantos setzen ein mit Zitaten aus dem 4. Kapitel des Li ji. Noch stärker als die Szenen haben die im Text verstreuten chinesischen Schriftzeichen eine übergreifende Funktion. Sie beginnen mit dem Zeichen 'Licht, Glanz'. Das Zeichen 'Ruhe' gibt ein Gefühl der Harmonie. Die folgenden Ideogramme machen vor allem die Kraft der konfuzianischen Tradition deutlich, indem sie die Kaiser Yao, Shun und Yu, die Xia und die Zhou-Dynastie und Konfuzius selbst mehrfach hervorheben.

1983
John Driscoll : There are many occasions in the China cantos where Pound used his sources extensively, but expressed them in ways which better fitted his aims than could be achieved by using gallicisms. Canto LII is unique in the China cantos in as much as it contains no material taken from Mailla's Histoire générale de la Chine, and in the case of the first page and a half, is not composed from any particular source. As such, the canto merits an individual chapter since its material is quite unlike that of the other cantos in the sequence and functions as a preface to the chronological history of China that follows in Cantos 53 to 61. The narrative techniques that Pound employs in Canto 52 are ones that he also employs when presenting the history sequence in subsequent cantos. There is more on usury, this time linked to Catholicism. This predominating ideology, a European equivalent to Confucianism, is a suitable contrast to the Chinese success story that is to follow in Cantos 53-61. The symbols of our prevailing ideology from medieval Europe are empty. The contrast between Canto 52 and 53 to 61 shows evidence of Pound exploiting contemporary ideas on the difference between 'primitive' and 'historical' consciousness. Thus the Li Ki of Canto 52, stripped of some of its distracting imperial or hierarchical ritual, becomes more accessible to us and allows us to establish a synchronic base in Chinese culture for ourselves, before proceeding to the more diachronic material of 53-61. The narrative eases us into a relationship with the text so that when the fuller picture emerges of how unified ideas and actions were in Confucian China, we are brought up short by our awareness that this is lacking in our own culture. Another mediation of Couvreur's Li Ki is the change from a descriptive to a more prescriptive style.
The first few pages of Canto 53, on the early emperors, show the development of a 'textbook' style narrative. The archetypal or mythological aspects to the material in this narrative are foreign to Western readers, but this unexpected context helps us to reach the Chinese cultural unity that is represented in the pre-dynastic stage of Confucian historiography through the use of tonal irony. This draws readers into a Chinese modality for history writing where the past is always an object of meditation, followed by imitation or rejection. In this way, the narrative in Canto 53 has a basically 'Chinese' function for readers, despite its occasional Western frame of reference. One of the most important conclusions to be drawn from the study of Canto 53 is the acknowledgement of how flexible Pound's narrative techniques are, and how much this contributes to the success of the poem. There are clearly times when the narrative is on 'our' side looking at China, and other times when it faces the other way. We are led to accept a Chinese frame of reference including lyricism, unity, clarity of purpose, continuity and solidity – especially in cultural forms. A more objective narrative weaves in and out of Chinese symbolic patterns, never fully explaining them nor expressing them as it might if it were totally Chinese. Like other types of material presented in the poem, the selection of ritual has an accumulative effect. We 'pass through' the rituals as we read the poem, and they help us to frame later actions in a Confucian perspective.
In Canto 55 Pound devotes the most space to developing it in relation to the wider themes of Confucian order, harmony with nature and justice, continually recurring over the enormous time-span of Chinese dynastic history. Nearly all of the detail used to cover the period of this canto (805-1231 A.D.), is as usual taken from Histoire. That Pound chose to emphasize economic over moral or cultural aspects shows a sensitivity to the particular conflicts and interests of this period. The most important passage in the canto deals with the attempts by Ouang-ngan-ché to reform land ownership and taxation systems in the empire, which were the most significant events of this period outside the rise and fall of dynasties. Pound's presentation of the reforms is significantly different from Histoire's.
The fragmentary application of Confucian practicality over Taoist or Buddhist decadence represented at court by the eunuchs, is typical of this period as depicted in Histoire.
An important part of Pound's technique for using material from Histoire was the selection of detail, often of relatively minor importance in the context of the chronicle as a whole. The selected details were to function in the poem in a variety of ways, by no means always paralleling a similar function in Histoire. An important principle of selection was whether particular events or characters in history were interesting in the sensational or sentimental way of popular newspaper items, the so-called 'human interest' principle. That this should be felt in Pound's poetry from 1938-40 is hardly surprising, since for many years he had engaged in a cultural, political and economic journalism to crusade for the truth as he saw it. The cyclical Confucianism which runs through the whole sequence might satisfy those readers who look for ideological elements in historical poetry. Others might approach the same conclusions through a more popularistic or journalistic mode, responding to the vernacular 'gut' reactions of the poem's narrative or historical figures. Both Histoire and Pound could occasionally use human interest stories to develop more political themes.
The way Pound selected and presented detail for the decline of the Ming is a significant achievement in the China cantos. It is typical of the best descriptive passages in the whole sequence : selected vivid images shorn of their discursive context allowing wider movements in the poetry to be felt by the reader. The human interest principle, even when it exploits sentimentalism, is important in this context.
Pound actively enlivened his source Histoire by omitting irrelevant and largely repetitive and boring details of warfare and diplomacy. Within the limited space available, Pound took the right decision in exaggerating the Confucian qualities of his model emperors since the hierarchy he found of emperors who were perfect down to those who were worthless. The issue of whether Pond should or should not have included more material on non-Confucian forces in China such as popular revolts is not so much a question of his omitting material from Histoire. It is his projection of what he considered the Confucian approach to history onto the poem, which in turn reflects Histoire's general perspective. He clearly wanted to present Confucianism to the modern world stripped of some of its more unacceptable elements, such as the sacrificial or religious, yet with its base in Chinese mythology preserved.
'Western decay' as myth is challenged by the China cantos through Pound's attempt at raising our level of consciousness about world history and thus break out of the restrictions that living in the history of Western society has left with us.

1983
John J. Nolde : The basic themes appear over and over in Pound's lines : the ancient legends of the invention of agriculture and of writing ; the channeling of the floods ; the defense of the frontier ; the evils of pernicious doctrines, especially Buddhism and Taoism ; earthquakes, eclipses, comets and the appearance of fabulous animals ; the beat-like, repetitive recounting of the rise and fall of dynasties. Above all there was the constant concern for good government. For millennia the Confucian view held that unless a ruler and his officials were concerned with virtuous rule and the welfare of their people, they and their dynasty were doomed, the 'Mandate of Heaven' would be withdrawn, and the mantle of leadership passed to more vigorous, and virtuous, leaders. The nexus of the problem was usually economic, and the neo-Confucianists made much of the need for equitable taxes, effective public works, and high agricultural productivity.

2008
Li Qingjun : Cantos LII-LXI emphasize that Chinese history, because it was firmly rooted in Confucian morality yet in spite of periodic set-backs, always kept alive a tradition of what it meant to have responsible government and healthy human relationships. For Pound, these ordering norms were to be found in Confucianism, as expressed in the Da yue and the Lun yu. Pound's Cantos is a morality tale. In canto after canto, Pound holds up the mirror in which Western readers can see both the frailty and potential of their civilization. In the 'China cantos', Pound shows how China's past proves the adage that history is ideas put into action. It is the nobility of Confucian ideals that Pound admires and recommends. From Pound's point of view, politicians and statesmen had not made a difference in the stability of Western culture through reason and government machinations. Pound thought that perhaps a poet could hold up a mirror that would reveal the answers that lay in Confucianism and reflect to the readers of his era the moral truths he found in Chinese history. For Pound, China, by means of its Confucian-based ideology, should shed light and enlightenment on the rest of the world. The Chinese written character as a medium for poetry not only influenced Pound to his ideogrammic method but also led him to the firm conviction that the West could not ignore Chinese history and culture because there was much to learn from it.
In Canto XIII Pound embedded Confucius' action in Asian culture ; in the numerous temples that have edified people's minds, generation after generation ; in the forest that connects people to nature, and in the river that washes away the dirt from people's minds and then nurtures and nourishes the healthy growth of the good seed in their hearts. In contrast to his expression of the disorder and twisted desires that have led to war in the West and caused its disillusionment and deterioration, Pound's view of Confucius was filled with compliments and admiration. From the Analects Pound used the episode of Confucius asking his disciples what they will do, since no officials seemed to be asking them for advice. He rewrote the passage to have Confucius encourage each of his disciples to follow his own nature. He offered Confucius's reminder that only the ruler who knows how to control himself and practice internal stillness of desires can bring order to his country.
Pound's use of Chinese characters in The cantos is an illustration of his skill as an imagist who used visual poetry to mirror history. The characters are not merely the replication of Chinese characters ; instead, they are pictures shown in the poetic mirror, layering the meanings in the linguistic text itself, and becoming a part of the poems' references and allusions. Pound turned Chinese characters into pictures and used them to represent concrete ideas. Most characters he chose are not pictograms – they do not actually portray concrete objects, but they are ideograms communicating more than a word, often an entire sentiment or philosophical truth. He used a visual image as his imprimatur of Confucian authenticity to indicate what constitutes good leadership and a society in which individuals could flourish. He noticed as well that leaders in Chinese history who did not find ways to make Confucius's teachings new invariably implemented changes that brought destruction. Pound held up a mirror to China's long history to show how Confucian values, when appropriated for each new age, may stabilize the political system and allow the individual to flourish. He never tried to write a strictly objective history of China. Instead, he offered Confucian values as a model for society and human relationships.

2010
Roslyn Joy Ricci : In Cantos LII-LXI Pound uses forty-eight Chinese characters to further promote his ideogrammic method. These sections demonstrate Pound's first serious use of Chinese characters as signifiers ; provide examples of his ideogrammic method in alphabet poetry ; and offer a unique opportunity to observe his approach to recording Chinese myths, legends, and history. The cantos are a synopsis of Chinese history from 2837 BCE to 1735 CE. They illustrate how he uses characters to sculpt, balance, and situate meaning in time and space. Acting as visual aesthetics they 'break down syntax and interrupt the linearity of traditional reading. Analysis reveals Pound's ability to juxtapose elements of different languages as 'collage-text', utilizing their unique properties so that each contributes to a poetic communication of maximum efficiency, creating a new poetic method within Western literary discourse.
Pound does not use Chinese characters as mere enhancers. He carefully chooses where and how his poetry can deliver compounding images for readers of European languages along with Chinese characters for the same purpose.
Pound's search for poetic expression – inspired by the idea of ideogrammic communication but constrained by phonocentric language – results in an idiosyncratic synthesis of Chinese poetic style with twentieth century Imagist poetry.

Adams cantos LXII-LXXI (1940)
Sekundärliteratur
1967
Noel Stock : The Chinese history demonstrate how things run smoothly when rulers and people obey the Confucian 'law', and fall apart when they neglect it. John Adams depict a wise, Confucian-type ruler in action in the American colonies and early United States. An assertion or denial of the connexion between China Adams can hardly be proved, in any strict sense ; unless we go into the matter much more fully than Pound as. Even if it could be proved historically or philosophically, which Pound does not begin to do, either in the Cantos or elsewhere in his writings, there is still the question of poetry : is the connexion conveyed poetically ? Here we are force to say definitely not.
These cantos contain references to some of Pound's main economic ideas and continue to develop earlier themes. If we take Pound seriously, it may be argued, we must take seriously his history, even if only to whose sometimes how bad it is. But this presupposes a set of condition which does not exist. To take Pound seriously as an historian, to look up his sources, discuss them, is tantamount to giving nineteenth-century answers to a nineteenth-century question. This is justified when it is a case of exploring his own meaning, but we mut not confuse it with history. It would be different if Pound had shown himself a scholar.
The China cantos are not very useful as history, except if we want to get an idea of the sequence of dynasties. Pound's source de Mailla's Histoire générale, is a great work which holds an important place in the annals of western awareness of China. But, through de Mailla's fault, or his own, Pound's cantos do not even begein to register the feel of Chinese history – the rise and fall, the depths, the long periods of chaos, or the extent of monetary depreciation and counterfeiting. For the fact that in giving what he imagined to be an account of events and motives he was driven to formulate the monetary perceptions examined earlier.
The Adams section is a 'portrait' of John Adams in action in the flux of events. There is never any doubt where we are, or what we are doing, even when we may be ignorant of what Adams is talking about or the situation in which he is involved.
The main fault of the section is that it is much too long. Another is that Pound mixes two methods, which is always dangerous. One moment he uses straight reporting, the next a system of artificial chops and changes.
Sometimes in his zeal for monetary reform Pound may be inclined to misread Adam's mood or tone. Not that Adams's ideas on money are likely to meet with approval exactly from a present-day banker, or be welcomed altogether by Americans of conservative tehdency for whom he is one of their greatest thinkers. Pound is conscious of Adams's refusal to get het up unnecessarily about things he was powerless to alter, and this knowledge is embodied in his handling of the other's writings.
There are many Chinese signs and repetitions, but they are not of any real importance.
Pound tries in the Adam cantos to establish John Adams as a guardian of culture and fertility in America as Confucius was in China. He seems to argue that the only difference between Confucius and Adams is that the former, blessed with a more unified paideuma, transmitted the heavenly ray from the tradition, whereas the latter had to find the inherent virtù within his own mind. Pound's paralleling of Confucius and Adams is based on the poet's reading of Da xue that one can find the heavenly light when one looks straight into one's heart, so that Adams could inherit the light and certain Confucian concepts such as the importance of standing in the middle without ever reading Confucian classics.
1970
Akiko Miyake : In Canto LXIII Pound traced the early training of John Adams, seeking to understand how he grasped the 'luminous principle of reason' so firmly as to appeal to the unwritten power. As an apprentice lawyer, he started using correct terms for his law study, just as Confucius advised in the Analects.
1976
Monika Motsch : In den Adams cantos sind ebenfalls chinesische Schriftzeichen eingestreut. Adams kommt auf seiner Suche nach einer guten Gesellschaftsordnung zu ganz ähnlichen Ergebnissen wie Konfuzius. Auch bei Adams soll die Regierung den Bedürfnissen des Volkes Rechnung tragen, dem Wunsch nach Frieden, nach ausgeglichenen sozialen Verhältnissen und freier Ausübung der Künste.

The Pisan cantos LXXIV-LXXXIV (1948)
Sekundärliteratur
1976
Monika Motsch : Das Schlüsselwort der Pisan cantos ist 'Tao', das Pound wie in seinen konfuzianischen Übersetzungen durch 'Process' wiedergibt und mit seiner Lichtmetaphorik verbindet. Dieser 'Prozess' ist der Rhythmus der Erde, des Himmels und auch der wahre Weg der Menschen.
2003
Ronald Bush : Almost all of the Pisan cantos' fifty-odd sets of missing or garbled characters are excerpts that Pound copied out from The four books he had been allowed to carry to Pisa. After Pound finished his typescript, the characters were orphaned not once but several times. In the course of his composition he sent four separate fragments of his typescript to Dorothy Shakespear Pound. Dorothy then was to draw the Chinese characters. She was forced to locate the ideograms in Morrison's schematic chart of radicals. She wrote : "I have enjoyed working on the Ch[inese] so much ! I have found all of them : thank goodness you marked the dictionary !" Dorothy's typescripts and carbons, sent to James Laughlin and T.S. Eliot in the expectation that they would be used in the New Directions and Faber and Faber editions, were abandoned and now rest in the Beinecke and other libraries. Though Pound was working without his original typescript. In many cases Pound's first typescript and its carbons differ slightly from the published English text. The Chinese characters that were omitted or altered are reproduced from the Confucian text by Legge.

Canto LXXVII
Contains quotations from Da xue, Zhong yong and Lun yu from Legge's Four books.

Rock-drill de los cantares cantos LXXXV-XCV (1955).
Sekundärliteratur
1970
Akiko Miyake : The themes in Canto XXXVII : The war of the people against the agents of the bankers, the urgent need to disclose the devastation power of usury, is exalted to its cosmic dimension and dramatically taken into the first theme, the active influence of American founders.
1979
William Tay : "An epic is a poem containing history". Obviously the definition was intended by Pound to encompass The cantos. Having repudiated in both theory and practice the traditional structural models of the long poem, Pound substituted the ideogrammic method as the central organizing principle. Due to its non-linearity and concrete juxtaposition, this method turns out to be complementary in form to Pound's view of 'historical contemporaneity'. The Poundian sources for the Chinese history that goes into The cantos can all be classified as remembered history. None of these sources - the Confucian classics, a Chinese chronicle in Manchurian and rendered into French, a compilation of vulgarized Confucian tenets circulated as the Sacred edict – can truly lay claims to objectivity and accuracy. In re-transmitting these materials, Pound never seems to be bothered by the authenticity, objectivity, and correctness of his sources. He is neither critical nor investigative about his materials. He simply accepts the validity of the printed words without questioning and further research. This unscrupulous use of remembered history is complemented by Pound's ideogrammic method. The method eschews linear development and simply juxtaposes concrete data without explanation.
Shu jing is quite extensively used. While Shu jing is purported to contain more than seventeen centures of China's early documents, there are many gaps in the coverage and each of the five parts has to be read differently. Pound however, is capable of communicating historical 'knowledge'. Throughout The cantos, Taoists and Buddhists are often mentioned and described in a derogatory manner, as in the Chinese history cantos. Fortunately the invention of history appears to be rare in The cantos. Analogies to historical characters and past events, are very pervasive. The ideogrammic juxtaposition is based upon Pound's concept of historical contemporaneity. Pound's 'historical contemporaneity' does not make a distinction, and there is not attempt to construct even a self-contained system. Disregarding the difference in social and cultural background, he would isolate an endeared trait or idea, and with that juxtapose any number of historical characters supposed to share it. For Pound the origin, context, and motivation of a certain statement or incident are not important. He does not treat a historical statement as a living thought, but as a dead one, a finished product, cut loose from its roots. Pound's focus is continuously on the emperors and occasionally, the famous prime ministers.

Canto XCVIII
Sekundärliteratur
2005
Liu Haoming : The canto based on the vernacular Chinese text written in 1726, titled Sheng yu guang xun zhi jie by Wang Youpu, a writing in literary Chinese by emperor Yongzheng. Pound relied on a bilingual edition prepared by W.F. Baller. The first third of the canto interweaves ancient Egyptian myths with Greek allusions to and quotations from the Odyssey. Near the of that part, Wang Youpu is mentioned by name for the first time. From that point onward, the canto becomes a summary of Wang's text with occasional references to Dante and other old or modern Western events and texts. Pound pands his life-long contemplation on the nature of Chinese writing and its poetic implications by taking into consideration, for the first time in his writing career, the oral aspect of the Chinese language. Speech has hardly been considered in the study of Pound's view of the Chinese language. With the inclusion of Wang's vernacular text, the canto supplies this hitherto missing piece in Pound's theory of the Chinese language. An examination of Pound's view of the vernacular side reveals that he conceives the Chinese writing in a literary, philosophical and theological framework grander and more exquisite than most people had realized. The inclusion of speech in his theory of the Chinese writing testifies to the ultimate validity of this theory. By unfolding the dialectics of writing and speech in Pound's conception contained in this important late canto. In Wang's enterprise of rendering the Sacred edict in baihua, Pound recognizes a similarity between the linguistic, literary, and historical situations of late-medieval Italy and late-imperial China, because both Italy and China had long been dominated by a once illustrious but now dead 'locutio secondaria', namely, Latin in Italy and 'wenli' in China, and both Dante and Wang aimed at renovations by renewing a dynamic relationship to the origin.
The canto ends with an indirect quotation from Shu jing.

Canto CLXVII
The Ode is retranslated from 'Song of the Bowmen' the first poem in Cathay.
  • Document: Stock, Noel. Reading the Cantos : a study of meaning in Ezra Pound. (London : Routledge & Kegan Paul, 1967). S. 61, 64, 66-70. (Pou68, Publication)
  • Document: Miyake, Akiko. Between Confucius and Eleusis : Ezra Pound's assimilation of Chinese culture in writing the Cantos I-LXXI. (Ann Arbor, Mich. : University Microfilms, 1981). Diss. Duke University, 1970. S. 279, 348, 363, 366, 372, 375-376, 378, 381, 383-385, 394, 405, 418-419, 428, 430. (Pou100, Publication)
  • Document: Wand, David Happell Hsin-fu [Wang, David Rafael]. Cathay revisited : the Chinese tradition in the poetry of Ezra Pound and Gary Snyder. (Los Angeles, Calif. : University of Southern California, 1972). Diss. Univ. of Southern California, 1972. S. 108. (Pou97, Publication)
  • Document: Motsch, Monika. Ezra Pound und China. (Heidelberg : Winter, 1976). (Heidelberger Forschungen ; H. 17). Diss. Univ. Heidelberg 1971. S. 80-81, 105-106, 113-114, 119-123, 127-130, 132-133, 140. (Mot3, Publication)
  • Document: Tay, William. History as poetry : the Chinese past in Ezra Pound's 'Rock-drill cantos'. In : Tamkang review ; vol. 10, no 1 (1979). (Pou36, Publication)
  • Document: Nolde, John J. Blossoms from the East : the China cantos of Ezra Pound. (Orono, Maine : The National Poetry Foundation, The University of Maine, 1983). (Ezra Pound scholarship series). S. 28, 430. (Pou77, Publication)
  • Document: Driscoll, John. The China cantos of Ezra Pound. (Stockholm : Almqvist & Wiksell, 1983). (Acta universitatis Upsaliensis. Studia anglistica Upsaliensia ; 46). Diss. Uppsala University, 1983. S. 45, 57, 59, 62-63, 92-94, 97, 106-108, 112, 124, 145. (Pou59, Publication)
  • Document: Chang, Yao-hsin. Pound's Cantos and Confucianism. In : Ezra Pound : the legacy of Kulchur. Ed. by Marcel Smith and William A. Ulmer. (Tuscaloosa, Ala. : University of Alabama Press, 1988). S. 87-88, 90-92. (Pou75, Publication)
  • Document: Cheadle, Mary Paterson. Ezra Pound's Confucian translations. (Ann Arbor, Mich. : The University of Michigan Press, 1997). S. 16-17, 19, 21, 219-223, 239, 241, 263. (Pou50, Publication)
  • Document: Ezra Pound & China. Ed. by Zhaoming Qian. (Ann Arbor : The University of Michigan Press, 2003). S. 76, 96-97, 103, 193, 195, 197-198, 163-164, 166, 169. (Pou32, Publication)
  • Document: Qian, Zhaoming. The modernist response to Chinese art : Pound, Moore, Stevens. (Charlottesville : University of Virginia Press, 2003).
    http://books.google.ch/books/about/The_Modernist_Response_to_Chinese_
    Art.html?id=S0AHhe2a0NoC&redir_esc=y    . S. 59, 61, 79. (SteW10, Publication)
  • Document: Pound, Ezra. Ezra Pound's Chinese friends : stories in letters. Ed. and ann. by Zhaoming Qian. (Oxford : University Press, 2008).
    [Enthält] : Briefwechsel mit Song Faxiang (1914), Zeng Baosan, Yang Fengqi (1939-1942), Veronica Hulan Sun, Fang Achilles (1950-1958), Angela Jung Palandri (1952), Zhang Junmai (1953-1957), Zhao Ziqiang (1954-1958), Wang Shenfu (1955-1958), Fang Baoxian (1957-1959).
    Appendix : Ezra Pound's typescript for "Preliminary survey" (1951).
    http://cs5937.userapi.com/u11728334/docs/901475cb4b3c/Zhaoming_Qian_Ezra_Pounds_Chinese_Friends
    _Sto.pdf    . S. XXIII, 9, 19. (Pou16, Publication)
  • Document: Li, Qingjun. Ezra Pound's poetic mirror and the 'China cantos' : the healing of the West. In : Southeast review of Asian studies ; vol. 30 (2008). (Pou83, Publication)
  • Document: Liu, Haoming. 'Pharmaka' and 'volgar' eloquio' : speech and ideogrammic writing in Ezra Pound's Canto XCVIII. In : Asia major; 3rd ser. ; vol. 22, pt. 2 (2009). (Pou39, Publication)
  • Document: Pound, Ezra. New selected poems and translations. Ed. and ann. With an afterword by Richard Sieburth ; with essays by T.S. Eliot and John Berryman. (New York, N.Y. : New Directions Publ. Corp., 2010).
    [Enthält] : Pound, Ezra. Cathay. London : E. Mathews, 1915. (Pou17, Publication)
  • Document: Ricci, Roslyn Joy. Romancing the Chinese characters in classical Chinese poetry : Ezra Pound's productive error from misinterpretation and its effect on his translation and poetry. (Saarbrücken : VDM Verlag Dr. Müller, 2010). S. 47-48, 54, 61-62. (Pou22, Publication)
  • Person: Pound, Ezra