Reexaminaion Of Pound's Poetics Of Chinese Characters

Ezra Pound is a highly influential and controversial figure in the history of Western modern literature.Pound's initial association with Chinese characters was influenced by the Ernest Fenollosa's thesis,and he proposed a new way of writing poetry " Ideogrammic method "after understanding the principles of Chinese character construction.Not only that,he even translated his translation of the Confucian classics directly into the "Poetry," which not only combines translation with poetry,but also blurs the boundaries between "creation and translation." Therefore,in Pound's works,"Chinese characters" and "English translation of classics","Chinese characters" and"poetry","translation of classics" and "poetry" constitute a complex structural relationship.When scholars study any aspect,they must involve two other levels of analysis.The core of this discussion is actually Pound's "Chinese Poetics." Pound's Chinese proficiency and translation techniques have been the main reason why academics have criticized their Confucian translations.With the discovery of some new materials in recent years and the excavation of related documents,the mainstream view that "Pound completely solves Chinese characters" that began at the beginning of the academic circle has been clarified in a certain sense.However,the relevant examples are still insufficient and the clarified perspectives are not systematically studied and studied in the material.In addition,some important literature resources have not been fully used by scholars and have attracted enough attention.Therefore,this article is based on the investigation of academic history and believes that it is necessary to reexamine the problem of Pound's "Chinese Poetics".This article mainly discusses from the following three parts.The first part starts with the discussion of cases of critical history.By examining the translation and the original Chinese characters,we can clarify the many misunderstandings in the criticism.When it comes to the first sentence of the Analects translated by Ezra Pound,Study with the seasons winging past,domestic academic circles expressed their criticism.There are actually two English translations:one was translated into the "Pisa Cantos" in the early years;the other is the English translation of the first sentence of the Analects.Considering the translation practice and principles of Pound,the theoretical foundation of critics which deciphers Chinese character by separation is untenable.References Fang Achilles and Hugh Kenner to verify the key clues provided by the translation of the "Poetry".Combining the changes in the translation details before and after combining and re-examining the Chinese-English dictionary found:Pound's translation is not the combination of random characters and fabricated images.The second part revisits the translation strategy used by Pound in translating classics and finds the connection between Chinese characters and their poetic theories from Pound's translation of Confucian keywords.From the English translation of"The Great Digest,The Unwobbling Pivot,The Analects" three representative examples are selected for analysis.It was verified that Pound's investigation of the character "Qiu" and the word "Yu"' not only traced the early Chinese characters but also related to the historical context associated with the word.This further shows that if only the expressions of Fenollosa's thesis and associations based on modern traditional Chinese characters are thoughtlessly conceived,it is impossible to find the true meaning of Pound's "puzzling" translation.The origins of the characters "Zhi"and "De" and their correspondence in the details of the translations are used to explain Pound's translation strategies and his emphasis on the relationship of "against abstract,concise and precise" poetics and language.Finally,to avoid overcorrection,it must be pointed out that the researchers' accurate judgment of Pound's view of Chinese characters should be based on specific,historical contextual examinations and cannot be generalized.Pound's analysis of Chinese characters is concerned with the implications of the metaphor behind the original meaning of the image.The analogy of the Chinese character's analogy seems to be a poetic thought in Pound's view.The third part further explores how Chinese characters influence the development of Pound's poetic theory and its relationship with poetry based on the previous verification of Pound's kanji viewpoint.Combing the process of the formation of the "whirlpool theory" inspired by Chinese characters,and relating the constructive principles of the verb-meaningfulness and ideograms in Chinese characters,I interpret the concept of "dynamic juxtaposition" in Pound's Imagist poetry theory.Finally,it explores the internal connection between Pound's method of directly embedding Chinese characters in the "Cantos" and modern visual arts.The interaction between Pound and Chinese culture lasted a lifetime.In fact,Pound's later classical translations and poetry creations are still associated with the inspiration of Chinese characters.Therefore,there is still room for further discussion on Pound's Poetics of Chinese Characters topic.