Year

1964

Text

Type

Publication

Contributors (1)

Mentioned People (1)

Subjects

Chronology Entries (1)

#	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.	Document: Porteus, Hugh Gordon. Ezra Pound and his Chinese character : a radical examination. (1950). In : An examination of Ezra Pound : a collection of essays. Ed. by Peter Russell. (Norfolk, Conn. : New directions, 1950). http://www.pdfs.name/gardan. (Pou82, Publication) Document: Pound, Ezra. The translations of Ezra Pound. With an introd. by Hugh Kenner. (New York, N.Y. : New Directions, 1953). (Pou91, Publication) Document: Palandri, Angela C.Y. Ezra Pound and China. (Ann Arbor : University Microfilms, 1955). Diss. Univ. of Washington, 1955. S. 210-211. (Pou26, 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. 430-433, 436. (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. 13. (Pou97, Publication) Document: Motsch, Monika. Ezra Pound und China. (Heidelberg : Winter, 1976). (Heidelberger Forschungen ; H. 17). Diss. Univ. Heidelberg 1971. S. 56-57, 63-65, 69, 99-101, 119. (Mot3, Publication) Document: Walther, Y.T. Juxtaposition and its limitations : an explanation of obscurity in Ezra Pound's poetry. In : Tamkang review ; vol. 14, no 1-4 (1983-1984). (Pou37, Publication) Document: Chang, Yao-hsin. Chinese influence in Emerson, Thoreau, and Pound. (Ann Arbor, Mich. : University Microfilms International, 1984). S. 230, 232, 145-146, 248, 295. (Pou103, 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. 107-198, 111. (Pou75, Publication) 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. 155-156, 169-172, 184, 186, 203-205. (Pou64, Publication) Document: Cheadle, Mary Paterson. Ezra Pound's Confucian translations. (Ann Arbor, Mich. : The University of Michigan Press, 1997). S. 29-31, 42. (Pou50, Publication) Document: Xie, Ming. Ezra Pound and the appropriation of Chinese poetry : Cathay, trnslation, and imagism. (New York, N.Y. : Garland, 1999). (Comparative literature and cultural studies ; vol. 6. Garland reference library of the humanities ; vol. 2042). S. 20-22, 178, 183, 213-214. (Pou70, Publication) Document: Hayot, Eric. Chinese dreams : Pound, Brecht, Tel quel. (Ann Arbor, Mich. : The University of Michigan Press, 2004). Diss. Univ. of Wisconsin, 1999. S. 12, 14. (HayE1, Publication) Document: Ezra Pound & China. Ed. by Zhaoming Qian. (Ann Arbor : The University of Michigan Press, 2003). S. 12-13. (Pou32, Publication) Document: Zhu, Chungeng. Ezra Pound's Confucianism. In : Philosoh and literature ; vol. 29, no 1 (2005). http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/philosophy_and_literature /v029/29.1zhu.pdf. (Pou51, Publication) Document: Qian, Zhaoming. Ezra Pound and his first Chinese contact for and against Confucianism. In : ScholarWork@UNO / University of New Orleans (2006). http://scholarworks.uno.edu/cgi/viewcontent.cgi?article=1032&context=engl_facpubs. (Pou49, Publication) Document: Macdonald, Sean. Montage as Chinese : modernism, the avant-garde, and the strange appropriation of China. In : Modern Chinese literature and culture ; vol. 19, no 2 (2007). [Enthält : Ezra Pound]. (Pou46, Publication) Document: Williams, R. John. Modernist scandals : Ezra Pound’s translations of 'the' Chinese poem. In : Orient and Orientalisms in US-American poetry and poetics. Sabine Sielke, Christian Kloeckner (eds.). (New York, N.Y. : P. Lang, 2009). (Transcription ; vol. 4). http://english.yale.edu/sites/default/files/Williams%20Pound%20Essay.pdf. S. 150-151, 160. (Pou79, 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. 5, 9, 65. (Pou22, Publication) Document: Ning, Xin. Picking the blossoms of the apricot : Ezra Pound's ideogramic thinking and his vision of Confucius. In : East Asian Confucianisms : interactions and innovations : proceedings of the Conference of May 1-2, 2009. (New Brunswick, N.J. : Confucius Institute at Rutgers University, 2010). (Pou65, Publication) Person: Pound, Ezra

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#	Year	Bibliographical Data	Type / Abbreviation	Linked Data
1	2007-	Worldcat/OCLC	Web / WC