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“Ezra Pound's encounter with Wang Wei : toward the 'ideogrammic method' of The cantos” (Publication, 1993)

Year

1993

Text

Qian, Zhaoming. Ezra Pound's encounter with Wang Wei : toward the 'ideogrammic method' of The cantos. In : ScholarWorks@UNO / University of New Orleans (1993). [Enthält] : A typescript of Pound's drafts for six poems of Wang Wei in Fenollosa Notebook 15.
http://www.jstor.org/stable/pdfplus/441687.pdf?acceptTC=true. (Pou48)

Type

Publication

Contributors (1)

Qian, Zhaoming  (1944-) : Chancellor's Research Professor, English Department, University of New Orleans ; Chancellor's Chair Professor of Modernist Studies, Hangzhou Normal University

Mentioned People (2)

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

Wang, Wei  (Shanxi 701-761) : Dichterin

Subjects

Literature : Occident : United States of America / References / Sources

Chronology Entries (2)

# Year Text Linked Data
1 1909.2 Ezra Pound met Laurence Binyon. He attended his lectures on 'Art and thought in East and West' and frequently visited him at the British Museum with Dorothy Shakespear, who often copied Chinese paintings while Binyon and Pound talked.
Pound may have heard about Wang Wei in the Gallery of Prints and Drawings, where are two famous Chinese landscape paintings, one attributed to Wang Wei. In Painting in the Far East, Binyon describes Wang Wei as the 'founder of the southern school, who was even more famous for his poetry than for his painting'. Even if Pound hadn't read the book, he would have gotten the information from Binyon when viewing the paintings.
  • Document: Ezra Pound & China. Ed. by Zhaoming Qian. (Ann Arbor : The University of Michigan Press, 2003). S. 15-16. (Pou32, Publication)
  • Person: Binyon, Laurence
  • Person: Pound, Ezra
2 1916-1918 Qian Zhaoming : After the publication of Cathay ound continued to explore Chinese poetry through the Fenollosa notebooks and Wang Wei, or Omakitsu, as he is called by Fenollosa.
In a letter to Iris Barry, 24 Aug. 1916 he writes : "I have spent the day with Wang Wei, eight century Jules Laforgue Chinois". Pound saw in Wang Wei a modern sensibility and a likeness to the French symbolist Laforgue. In Wang Wei he apparently discovered the possibility of ruther modernizing his style by combining the French and Chinese influences. In a letter to Kate Buss, 4 Jan. 1917 he emphasizes Wang Wei's modernity and his resemblance to the French symbolists : "Omakitsu is the real modern – even Parisian – of VIII cent. China".
Nov. 1918 he brought out a short version of Wang Wei's poem Dawn on the mountain in The little review.
Pound's failure to reproduce Wang Wei's whole art has been potent, generative, ironically influential. He was exposed to a poetics firmly based on the non-dualistic notions of Taoism / Zen-Buddhism. Thought Pound may not have been able to grasp Wang Wei's philosophy, he was by that point both intuitively and conceptually conditioned to appreciate Wang Wei's Taoist / Zen-Buddhist art.

Cited by (1)

# Year Bibliographical Data Type / Abbreviation Linked Data
1 2000- Asien-Orient-Institut Universität Zürich Organisation / AOI
  • Cited by: Huppertz, Josefine ; Köster, Hermann. Kleine China-Beiträge. (St. Augustin : Selbstverlag, 1979). [Hermann Köster zum 75. Geburtstag].

    [Enthält : Ostasieneise von Wilhelm Schmidt 1935 von Josefine Huppertz ; Konfuzianismus von Xunzi von Hermann Köster]. (Huppe1, Published)