“Orientalism, modernism, and the American poem” (Publication, 1996)
Year
1996
Text
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. (Pou64)
Type
Publication
Contributors (1)
Kern, Robert
(um 1996) : Associate Professor English Department, Boston College
Mentioned People (1)
Pound, Ezra
(Hailey, Idaho 1885-Venedig 1972) : Dichter, Schriftsteller
[In der Sekundärliteratur wurden Analysen einzelner Strophen der Gedichte nicht berücksichtigt]
[In der Sekundärliteratur wurden Analysen einzelner Strophen der Gedichte nicht berücksichtigt]
Subjects
Literature : Occident : United States of America
Chronology Entries (3)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1909.1-1972 |
Ezra Pound and China : general Quellen : Binyon, Laurence. Chou king. Trad. De Séraphin Couvreur. [ID D2601]. Li ki ; ou, Mémoires sur les bienséances et les céremonies. Trad. de Séraphin Couvreur. [ID D2642]. Fenollosa, Ernest. The Chinese written character as a medium for poetry. Ed. by Ezra Pound. [ID D22141]. Giles, Herbert A. A history of Chinese literature [ID D7726]. Goullart, Peter. Forgotten kingdom [ID D3683]. Hare, William Loftus. Chinese egoism. In : The Egoist ; vol. 1, no 23 (1914). The Chinese classics. Transl. by James Legge. [ID D2212]. Pound übernimmt die übersetzerischen Grundlagen. Karlgren, Bernhard. Glosses on the Book of odes [ID D3516]. La Charme, Alexandre de. Confucii Chi-king : sive, liber carminum [ID D1988]. Mailla, Joseph-Anne-Marie de Moyriac de. Histoire générale de la Chine [ID D1868]. Mathews, R[obert] H[enry]. A Chinese-English dictionary [ID D8646]. Economic dialogues in ancient China. Ed. by Lewis Maverick [ID D29079]. Mori Kainan / Ariga Nagao. [On Chinese poetry]. Morrison, Robert. Morrison, Robert. A dictionary of the Chinese language [ID D1934]. Pauthier, [Jean-Pierre] Guillaume. Les livres sacrés de l'Orient [ID D2040]. Rock, Joseph : Monographs on the Naxi. [s. Rock]. [Wang, Youpu]. The sacred edict. With a translation of the colloquial rendering, notes and vocabulary by F[rederick] W[illiam] Baller [ID D10024]. Zhang, Tiemin. Chinese-English dictionary. (Shanghai : Commercial Press, 1933). [Correspondence with Chinese friends : About 400 letters, postcards, and telegrams in three Pound archives and three private collection.] Sekundärliteratur 1950 Hugh Gordon Porteus : Throughout the works of Ezra Pound one comes across references to Chinese literature, and to quotations from the Chinese classics – sometimes in English paraphrase, sometimes in Chinese character. Increasingly, since the first world war, Pound has busied himself with things Chinese. Constantly he has advocated the inclusion of Chinese language, poetry and (Confucian) doctrine in the English educational system. Pound's avowed ignorance of Chinese literature in general and of the Chinese language in particular makes only the more spectacular his singular achievements in these two field. What is remarkable about Pound's Chinese translations is that so often they do contrive to capture the spirit of their originals, even when, as quite often happens, they funk or fumble the letters. For Pound, the Chinese character is a mysterious and magical unknown quantity, which sets all his faculties vibrating at the highest pitch of excitement. His pseudo-sinology releases his latent clairvoyance, just as the pseudo-sciences of the ancients sometimes gave them a supernormal insight. A Chinese text serves Pound as a receipt for the elixir served a Chinese alchemist. The result is a phenomenon of psychometry abetted by aesthetics. 1953 Kenner, Hugh : Pound never translates 'into' something already existing in English. He has had both the boldness and resource to make a new form, similar in effect to that of the original, which permanently extends the bounds of English verse. Translation is for Pound somewhat easier than what is called 'original composition'. Many Poundian principles meet in the translator's act that the best of his translations exist in three ways, as windows into new worlds, as acts of homage, and as personae of Pound's. In the Cathay poems, Pound is at his best both as poet and as translator ; he is amazingly convincing at making the Chinese poet's world his own. 1955 Angela Jung Palandri : The redeeming feature in Pound is that even when his imagination runs wild, which is often does, he does not always go overboard by substituting the generally recognized meanings with the ones he draws out from the indeogramic analysis. Sinologists who dismiss Pound's translations as mere nonsense without a second thought actually betray their own limitations in scholarship and lack of imagination. For although apparently unorthodox and wild, Pound's interpretations are not as groundless as generally assumed. 1960 Winters, Yvor. In defence of reason. (London : Routledge, 1960). … the Chinese poets, like Pound, were primitive in their outlook, and dealt with the more obvious and uncomplicated aspects of experience ; but their outlook, though primitive, like Pound's, differed from Pound's in a richness and security of feeling within its limits – their subjects, though simple, were nevertheless more rich than any with which Pound has thus far dealt, and they lent themselves to the composition of poems longer than most which Pound has thus far attempted, so that he had an opportunity to explore the possibilities of the free verse which he had previously begun to employ whereas the Chinese translations are written in what is really 'a heavily cadenced prose that continually verges on verse without achieving it', the Cantos are written in a slow and heavily accentual verse, which at its best displays and extraordinary suavity and grace of movement. 1960 Rosenthal, M.L. A primer of Ezra Pound. (New York, N.Y. : Macmillan, 1960). The development of Pound's interest in Chinese poetry and thought, as well as his varied translations from the Chinese, is in itself an important subject. This interest, like every other to which he has seriously turned his attention, he has brought directly to bear on his own poetic practice and on his highly activistic thinking in general. 1964 Donald Davie : As for his [Pound's] contention that no Chinese can read Chinese characters without being aware of how they are built up out of pictorial metaphors, most authorities now appear to disagree with him. It is in any case something that can be neither proven nor disproven. Just as most speakers of English use the word 'discourse' without being aware of the metaphor of running about concealed in its etymology, so one concedes that a slow-witted Chinese, or a sharp-witted Chinese in a state of fatigue, would not register the pictorial metaphors in the Chinese he was reading. The argument can then be pushed further only by unprofitably speculating on what is the statistically normal degree of slow-wittedness or exhaustion among Chinese. 1970 Akiko Miyake : Confucianism always meant for Pound the idea of order which he found lacking in his understanding of European civilization and which is particularly indispensable for constructing his counterpart of Dante's cosmos for ascending from hell to paradise in his fictitious cosmos and thereby metaphorically liberating the Platonic essence of beauty and knowledge. The most impressive fact about Pound as a poet is the way he sacrificed anything for creating his poetic contemplation and his personal mystery. The vorticist movement, through which Pound succeeded in starting the Cantos, ruined his early reputation. The obscurity of the Cantos very much impeded his career as a poet, and finally his glorification of Mussolini's regime as a part of the manifestation of his ideal provoked his long imprisonment. It is not unlikely that writing the Cantos increased his mental disorder. One cannot determine for certain whether Pound's apotheosis of Confucianism was a cause or a symptom of his mental disorder. It is spectacular to contrast his Cantos, however, which steadily proceeded with their own kind of skill. His mental disorder advanced along with his exaltation of the Confucian order, till his pro-fascist broadcasting during the war invited catastrophe. Pound pointed out the defect of Platonism for an artist and offered a correction in his ideogramic method, which is probably the first correction of Platonism through Chinese influence in history. He presented a possible parallelism between the Sung Confucians' metaphysical interpretation of Confucian classics and Christian contemplation though he worked through the vague suggestions of the former that appeared in Pauthier's text. Particularly, his paralleling of Chinese history and the Eleusinian concept of the recurrence of life is a very interesting attempt to interpret Chinese culture within a basic pattern of anthropology common to any type of culture. 1976 Monika Motsch : Ezra Pound begeistert sich für Konfuzius aus folgenden Gründen : James Legge hält viele Passagen für unverständlich ; Arthur Waley entschuldigt sich im Vorwort seiner Übersetzung des Lun yu für die Trockenheit. Die konfuzianischen Schriften sind für Pound eine Lebensphilosophie, die Summer der Weisheit. Sie sind der Schlüssel zum guten Staat und der Beginn des Denkens. Wie Konfuzius lebte Pound in einer von Kriegen erschütterten Welt, wie Konfuzius war er ein grosser, suggestiver Lehrer. Wie dieser, pflegte Pound aus der Literatur früherer Zeiten zu zitieren. Am Ende des Canto XIII und 116 deutet er an, dass er sich als Nachfolger von Konfuzius betrachtet. Pound sieht in Konfuzius einen Philosophen, der 'ideogrammatisch' denkt, d.h. der die Dinge selbst in ihren Beziehungen zur Umwelt untersucht. In sich aufgenommen hat Pound die für die konfuzianische Philosophie charakteristische Vorstellung eines Kosmos, in dem Natur und menschliche Gemeinschaft in organischer Beziehung stehen. Er macht sie – in verwandelter Form – zu dem zentralen Leitgedanken seiner konfuzianischen Übersetzungen und der Cantos. Pound sieht die Natur, die konfuzianische Ethik und die Mythologie in einem grossen, ständig fortschreitenden Prozess, und diese Gedankenverbindung erwies sich für seine Konfuzius-Übersetzungen und vor allem für seine Cantos als sehr fruchtbar. Er betonte immer wieder, dass der Westen Konfuzius brauche. Er glaubte, durch Konfuzius eine Philosophie gefunden zu haben, die sich in China und in den frühen Jahren in Amerika schon bewährt hatte. Er versucht, die konfuzianischen Ideen dynamisch im Prozess der Anwendung zu zeigen, wobei er die Schriftzeichen als lebendige Szenen darstellt. Es gelingt ihm dadurch, dem Begriff seine ursprüngliche Vitalität zurückzugeben und gleichzeitig den späteren moralischen Sinn des Wortes zu treffen. Pounds Stil ist lebendig und voller Bilder und trifft in seiner Prägnanz und Suggestionskraft oft genau das chinesische Original. Er führt bei der organischen Dekomposition die konfuzianischen Werte auf legendige Bilder und Handlungen zurück, die sich gegenseitig beeinflussen. Oft erscheinen diese Werte in einer Reihe von verschiedenen Metamorphosen. Pound macht die konfuzianischen Begriffe dynamischer, präziser und wesentlich komplizierter und mehrdeutiger als im chinesischen Text. Er greift über den Kosmos hinaus, in metaphysische Bereiche und er ruft die Götter an. Er bricht den geschlossenen konfuzianischen Kreis auf und weitet ihn so, dass er sich erst im Unendlichen schliesst. Wie Konfuzius die vergessene Weisheit der Antike für seine Zeit zu neuem Leben erweckte, so vermittelt Pound dem Westen östliche Weisheit. 1980 Wesling, Donald. The chances of rhyme : device and modernity. (Berkeley, Calif. : University of California Press, 1980). [About the importance of Chinese syllabic metre for Ezra Pound] : Apparently Chinese, with its rhythms and excitements different from ours, cannot achieve the special expectation of syntactical delay or the pleasure frustration of the English periodic sentence. With ideograms as equal units, juncture and disjuncture are insistent, but Chinese will not display the specific track of feeling of the Western languages, which do not so strongly employ separation of the parts of the line. There are in English more units (words) in a given line ; therefore more partitions ; and therefore the line is more possessed of continuity… Thus when, as with Pound, a writer wanted the laconism of the clumped phrase, he consciously imitated, in English, the Chinese mode. 1984 Y.T. Walther : There are elements particular to Pound as a poet and to English as a language different from Chinese that have prevented Pound's ideogrammic method from procuring the desired effects. The major instrument of the ideogrammic method is the technique of juxtaposition, which is the omission of grammatical links and interpretive elements in a sentence or sentences. The common belief is that when the links or transitions are taken away, obscurity takes place. This is a misconception. Obscurity occurs only then the expectation of the complete sentence form is frustrated. The first major reason why juxtaposition creates obscurity in Pound's modern English but not in T'ang poetry is the difference in the English and Chinese reading patterns : the former constitutes an expectation of the full sentence while the latter relies much on discontinuity. The first major reason why Pound's ideogrammic method fails to communicate is that 'the traditional ways of coming into relation with each other' in the English language and thinking pattern do not yield to ideogrammic understanding. Pound's incommunicativeness is not so much a result of his using the ideogrammic method as of using it indiscriminatingly and of making it the only norm acceptable in poetry, in other word, monism. The method to Pound, is a tool to purify a poetry of 'emotional slither' that he had inherited from a previous century. 1985 Chang Yao-hsin : Pound took in his Chinese translations sufficient notice of other rhetorical figures such as simile, synecdoche, metonymy, and even allegory embedded in classical Chinese poetry. He also gave due consideration to the symmetrical structure, the refrains, and the pathetic fallacy, so conspicuously noticeable in some of the odes. A general perusal of Pound's Chinese translation of the odes reveals an unmistakable editorial bias. He wants to give an accurate, precise, and definite description. He wants to achieve direct and exact treatment and most basic economy of poetic expression. He wishes to avoid the slightest hint of a moral and artistic defection through unforgivably careless use of an unnecessary word. In fine, he intends to substantiate his imagist aesthetic and prove its efficacy as an antidote to Victorian poetics. The translation of classic Chinese poetry affords him a fine opportunity to do this, and at the suggestion of Fenollosa, he seized it with both hands. Thus the endeavor is a labor of love indeed. On the matter of translation, Pound holds that the translator should not pester the reader with superfluities of any kind which would put him further from the masterwork. Whatever Pound's weakness and however outrageous his editorial licence, he succeeds well where most translators of Chinese literature fail : he seldom puts himself between the reader and the master he undertakes to translate. Pound's work as a translator of Chinese literature made his Confucius unintelligible and ridiculous sometimes, so much so that we can not take his version of the 'Four books' seriously as a work introducing the thought system of Confucius. The moment he starts to apply the method, he ceases to be communicative and draws ridicule upon himself. In his character-analysis which is part of the 'method', he made very few lucky hits, and picked little that is germane. The Cantos, in structure, bears a clear stamp of classic Chinese poetry. We may even suggest that classic Chinese poetry may have served as an aesthetic prototype for the form of Pound's epic. Just as in a Chinese poem the characters stand at one apart and yet correlated as if by an inner cohesive force to form an organic whole, so the hundred-odd cantos juxtapose and relate to one another to add up the weird colossus of the masterwork. The influence of Confucius' philosophy on Pound is not always fortunate and wholesome. There are certain unhealthy tendencies in Confucian classic which may have echoed and strengthened similar propensities in Pound. One of these relates to race and racial discrimination. Obviously chauvinistic, Confucius never spoke of minority nationalties in outlying areas of China except as barbarians. 1988 Chang Yao-hsin : Nostalgia for the ideal past, desire to salvage a world from total decay, and devotion to humanity proved to be the bonds that tied him and Confucius together. Whether for good or for evil, rightly or wrongly, Pound was for the most part of his life trying to offer Confucian philosophy as the one faith which could help him save the West. The influence of Confucius's philosophy on Pound is not always fortunate and wholesome. There are certain unhealthy tendencies in the Confucian classics which may have echoed and strengthened similar propensities in Pound. One such issue relates to race and racial discrimination. Works of art, once completed, acquire an independent existence and invite interpretations which may not always have much to do with their creators. To say that a person with bad political ideas cannot write good poetry and thus condemn both Pound and his masterwork is perhaps as simplistic as to dismiss Wagner's music as worthless. 1996 Robert Kern : Pound Orientalized modernism, in the sense that his versions of Chinese poems became models for modernist poetry in general, both in his own work and in that of other poets as well. Pound's involvement with Chinese poetry represents a certain, probably unavoidable, neglect of its full reality as an independent and exotic cultural production. Although it provokes and enables Pound's pursuit of modernism, Chinese poetry itself is displaced as a literary tradition in its own right. Thus if Chinese poetry in our time is Pound's invention, and if that invention's most essential concern is, in fact, with 'a new kind of English poem', then what we are dealing with as Chinese poetry is something that has been produced in and by the West. The publication of Cathay ushered in a whole new era of Anglo-American regard for Chinese poetry, along with a new era of translation. To see that Cathay constitutes a watershed in the history of Chinese translation, we may consider the attitude of translators active during the period just prior to its publication, a period extending roughly from the 1880s to 1915. English translators of this era tend variously to appropriate, domesticate, or otherwise impose themselves and their culture upon Chinese texts, and there seem to be few if any explicit rules or conventions to guide the practice of translation. The writers, for the most part, introduce their work by expressing dissatisfaction with existing translations and calling for some new approach, one which will not necessarily constitute a closer approximation of the Chinese, but which will correct what they feel to be the excesses of previous translators, especially James Legge. Frequently they articulate their dissatisfactions in terms of a postromantic distinction between the scholarly and the literary or the poetic, where the former represents an uninviting literalism or a pedantic adherence to the text, thought to impede a freer, more imaginative interpretations of the material. Pound himself, who would later assume his own antischolarly stance and insist on not translating the words, was often the target of criticism directed at what was seen to be his own unseemly or ignorant deviations from the text. But if Pound appears to take the side of the poets against the scholars in this debate, a further distinction must be made between his understanding of poetic translation and that of many of his predecessors and contemporaries. Pound's distaste for literal translation makes him more responsive and responsible to other aspects of the poem, including its sequence of images, its rhythms, and its tone. It is in this sense that Pound satisfies his obligations to the original text and in this sense also that his translations become acts of homage to the poets he translates. After his reading of Fenollosa in 1913, Pound apparently came to feel that imagism is not merely a modernist style but a category or genre of poetry with a lineage as ancient as that of the lyric itself. Pound invents Chinese for his English reader, in part, by defamiliarizing his English – which means not that he translates from Chinese into English, or from a foreign idiom into a familiar one, but that he allows his English to be reordered or even disordered, for expressive purposes, by his sense of the cultural and linguistic otherness of the experience to be conveyed. Pound's interest in Chinese history was essentially an interest in Confucian ethics and government, and his focus upon them, together with his concentration on the characters, became the central pursuit in his subsequent work with Chinese. His interest in Chinese history was essentially an interest in Confucian ethics and government, and his focus upon them, together with his concentration on the characters, became the central pursuit in his subsequent work with Chinese. His interest in Chinese after Cathay takes the form as well of an increasingly intense focus on Chinese characters, also understood as universal, natural. They constitute a permanently available system of signs, and not so much a language as an authorizing source of language, more immediate to nature or things themselves than any alphabetical writing could be, and therefore less arbitrary than alphabetical scripts. Pound never abandons his own 'virtu' or creativity as a reader, regardless of whether that which is to be read is a whole text or a single ideogram. His aim is to make it new, and making it new for him means both to preserve and to reconstruct. In presenting Chinese characters, he could hardly go further toward preserving the reality of Chinese in its difference or otherness, at least from the point of view of English or Western readers. In regarding the characters as universal signs, and in tending to read them creatively, to suit his own purposes, Pound can be seen in his own way to the downplaying the difference of Chinese. 1997 Mary Paterson Cheadle : For Pound, translation should not be 'philology', which fails to give to the literary works at hand the vitality or contemporary relevance the original had in its own time and place, but 'interpretation', where the 'translator' is definitely making a new poem. Even if Pound had been interested in philological translations of Confucian texts, he would not have been sufficiently trained in the rules of sinology to produce such a translation, and most critics writing on the subject agree that Pound's translations are wrong in many specifics. At the same time, Pound's Chinese translations have been judged favorably in respect to capturing the 'spirit' of the Chinese works. Pound's Confucian translations are extremely rich in imagery, and this is because, working with an antiquated theory about the composition of Chinese characters, he found more images in individual Chinese words than other twentieth-century sinologists do. What is essential to an understanding of Pound as a translator of Confucian texts, he did not take into account the fact that some of the elements of those words indicate the sound of the word more than, or even rather than, represent the meaning of the word pictographically. 1999 Eric Hayot : Pound made China part of his general project to rethink the nature of the West, to discover in poetry the best that humans had ever said or thought, painted or sung, and renew it. As a young man, he translated Chinese poetry into English, and through that poetry developed an aesthetic theory rooted in an ontology of Chinese writing. Later on, Pound intertwined Chinese characters and philosophy with his Cantos, published translations of Confucian texts, and partially explained his interest by insisting that the texts belonged as much to him as to the Chinese. 'Pound and China' produces various understandings of the West's relationship to China in general, understandings influenced both by literary judgments and by moral ones. 1999 Ming Xie : Both Fenollosa and Pound had consistently ignored or played down the phonetic aspect of Chinese characters in order to accentuate their primitive pictorial element. The Chinese ideogram, according to Fenollosa and Pound, is not the picture of a sound, but 'the picture of a thing'. Pound himself was perhaps both expressing his doubts about and professing his ignorance of the nature of the Chinese character. Fenollosa's ideogrammic principle seems to refer the image to the external object, which, through the mediation of the image, acts upon the human mind. Pound's Cathay versions do not seem to contain any lines or images that are made on the basis of pictorial etymology. Pound seemed always more interested in the process of perception and definition that lies behind the pictorial analogy. For him, the ideogram thus becomes the fundamental principle of poetry, and of a new mental economy in general. Pound's actual encounter with the Fenollosa materials may have been merely accidental, but Pound's own sense of his search for fundamental values in poetry and civilization was not. His Chinese adventures were not just fanciful exoticism, but a search for universal standards of 'perfection'. Pound believed that good translation should not try to replicate exactly the original experience that may be extracted from the poem and that good translation should consist in the expression of the translaros's own interpretation of the original structure of form and feeling in a new idiom. 2003 Ira B. Nadel : [Ezra Pound in Philadelphia 1889-1906].The young Ezra Pound encountered his first Chinese object, a Ming dynasty vase at Fernbrook Avenue in Wyncote, Penn. At Aunt Frank Weston's in New York, he saw a remarkable screen book, a sequence of oriental scenes adorned with poems in Chinese and Japanese ideograms. The oriental collections in the museums of Philadelphia provided additional exposure to Chinese culture, preparing Pound for his later absorption in Orientalism developed through the work of Laurence Binyon, Ernest Fenollosa, Nô drama, and his own study of Chinese. Family interest in China originated in Homer and Isabel Pound's concern with the work of Christian missionaries in China. Accounts of travel, religious work, and trade formed part of the family's reading. But the oriental objects in the Pound home indicate more than homage to a foreign culture with things Chinese. They represent Philadelphia's continuing attraction to the material culture of China, which had a formative role in Pound's earliest conception of the Orient. Chinese decorative and fine art formed Pound's initial encounter with China and contributed to his likely being the first major American writer to respond more to oriental art than to its literary tradition. Chinese painting and imagery acted as a catalyst for his writing and formation of his work. Pound found in the cultural heritage of Philadelphia's celebration of China the beginnings of a lifelong preoccupation with the country. 2005 Zhu Chungeng : Confucianism, Pound believes, offers a solution to the West that, from its political institutions to its economic system, has fallen into chaos and disorder. Ideology and aesthetics are inextricable. Pound also sees in Confucianism a way of making poetry in articulating his vision of a new earthly paradise. Unlike other failing metaphysical religions, Confucianism, in Pound's view, does not commit 'splitting' – the separation of ideas from the phenomenal or culture from nature. Pound considers Confucianism not just a balanced system ; he finds Confucianism particularly attractive because of Confucius's deep concern with man and culture, his focus on social and ethical issues, his emphasis on individual responsibility, and, above all, his strong commitment to realizing social order and harmony in this world. Pound embraces Confucianism also because he considers it verifiable truth obtainable through empirical experience. He repeatedly expresses his confidence in modern science, which he thinks is not only characteristic of his cosmology but also sets an example for literary study. This empirical approach is evident in his inductive aesthetics, such as his imagism or ideogrammic method, where ideas are to be expressed through the concrete particulars. Confucianism, for Pound, is entirely assimilable to his trusted 'method of modern science' as a comprehensive means of attaining verifiable truth. The objective of this procedure is to establish social order and harmony, from family all the way to the state. The Confucian master man must have self-discipline, great sensibility, and strong sense of responsibility to accomplish this objective. 2007 Sean Macdonald : Pound was merely promoting one aspect of Chinese etymology, 'xiangxing', the pictographic category for Chinese characters, and was not particularly concerned with the many other categories and forms of semantic associations. Pound's understanding of the Chinese language aside, the ideogrammic method is an obvious parallel to montage : "The ideogrammic method consists of presenting one facet and then another until at some point one gets off the dead and desensitized surface of the reader's mind, onto a part that will register." Pound liked to play with etymology, and he had a tendency to split words up into etymons. His ideogrammic method was, right from the outset, a way to fragment language at the basic level of vocabulary, where individual words are split into fractured juxtaposition. In addition, Pound's fractured syntax, his particular use of citation, extra-literary text, and typography, in his prose and The cantos shows clear links to avant-garde movements. For a modernist like Pound, the view of written Chinese as a script which overcomes the mediation of alphabetical writing systems seemed to justify his own view of the potential immediacy of language. On the one hand, such a view of Chinese can only be maintained at a distance : Chinese is idealized as a form of direct access to the signified, as a sort of signified in the flesh and not seen as an everyday mode of communication. On the other hand, for Pound, his appropriation of Chinese language and culture was the very least a very positive appropriation. "The Chinese 'word' or ideogram for red is based on something everyone KNOWS", writes Pound. Pound's interests in Chinese culture changed over time, but his Confucianism shows a distinctly political streak, especially in light of his support of Mussolini's government. For Pound, Confucius and Mencius would have been a couple of good fascists. Poundian ideograms tend to work in cumulative and constractive juxtapositional clusters of text and imagery. His ideograms can be placed on a continuum of attitudes toward Chinese culture and language that goes back as far as seventeenth-century Jesuit missionaries in China. The association of Chinese culture with a particular modern technique cannot be dismissed as solely a modernist or avant-gardist appropriation of Chinese language and culture as primitive, or an historical curiosity. 2008 Qian Zhaoming : In Pauthier's Confucius Pound seems to have found a philosopher, a cultural hero, who shared their modernist values. While affirming social responsibility the Chinese sage also stressed the relevance of individual dignity. To Pound such a philosopher could serve as an antidote against evils in the West. 2009 Williams, R. John : In their attention to Chinese ideography, Pound and Fenollosa entirely misunderstood the nature of the Chinese writing system, fixating somewhat blindly on its more exotic secondary elements. Pound even thought that Chinese ideography was so pictographically transparent that one could decipher the characters without even knowing Chinese. But even if Pound had a few truly ideographic examples to point to, the fact is that even the most generous estimates indicate that only a handful of Chinese characters actually conform to the ideographic principles, causing us to feel naturally suspicious of Pound's propensity to speak of 'the' Chinese character. Pound's translations may have accomplished a degree of 'openness' for his Anglo-American audience in the 1920s, but, in continuing to view Pound's translations as a framework for understanding 'the' Chinese poem today creates a scandal on two fronts : First, such a view closes our eyes to the simple fact that Chinese poetry is much more than the imagistic expressionism that Pound attributed to it ; and second, it glosses over the contemporary realities that Pound ignored by continually turning to the proverbially ancient and the aesthetically ideographic. 2010 Roslyn Joy Ricci : Ezra Pound romanticized Chinese characters as ideograms, signifiers attached to the signified, bypassing language. This misunderstanding of the Chinese character became productive error by stimulating the creation of a new poetic style – ideogrammic method. The visual aesthetics of characters appealed to his creativity. The journey from complege ignorance of the composition if Chinese writer characters to sufficient understanding to appreciate their complex evolution is both challenging and rewarding. Pound saw in Chinese characters the potential to transmit generalities with both detail and succinctness – in an aesthetical appealing form. He believed that each character conveyed a concept with broad associations to the universe as a whole. He translated Chinese characters and used them in his own poetic creations with this belief in mind. What he actually did, by using the characters in isolation without character context, was to inadvertently open the boundaries of signification providing readers with the opportunity to create their own truth constructs from the details of the character. Using this premise to construct an ideogrammic poetic method allowed Pound the licence to corrupt language signification without the shackles of conventional poetic restraints. Pound strived for simplicity in his poetry, including poetry translation, but he also endeavoured to employ the most efficient medium available. He used musical notation, both ancient and modern, and symbols juxtaposed with Chinese characters, hieroglyphics, ancient Greek and Latin. Pound was a lateral thinker, decades ahead of his time. His fascination with Confucian ideology led him to Chinese characters as the storage place of this knowledge. The visual aesthetics of characters captured his imagination – turning his interest towards them. 2010 Xin Ning : Unlike professional sinologists and translators, Pound's interest in Confucianism was the direct result of his discontent with the modern Western world. His self-appointed mission was to 'civilize the Americans' with the Chinese example. He wanted to reform the West under the guidance of the wisdom of the East. His interpretation of Confucianism is a creative 'misreading' rather than a faithful introduction to the original teaching of Confucius. Pound's 'misreading' provides us with a good example of the cross-cultural dialogue between the traditional and the modern age, between China and the West, and between translation and creative writing, which demonstrates not only the individual talent of Pound as an artist and cultural figure, but also the relevance of ancient Chinese thought to the modern world as well as the possibility of this ancient cultural tradition's self-renovation. |
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| 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. |
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| 3 | 1977 | Conference on "Chinese poetry and the American imagination" in New York, 1977. |
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Cited by (1)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
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| 1 | 2000- | Asien-Orient-Institut Universität Zürich | Organisation / AOI |
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