Pound’s Imagism and his translations of Chinese Poetry “Cathy” 英语专业(毕业论文).docVIP

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Pound’s Imagism and his translations of Chinese Poetry “Cathy” 英语专业(毕业论文).doc

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Pound’s Imagism and his translations of Chinese Poetry “Cathy” 英语专业(毕业论文)

Pound’s Imagism and his translations of Chinese Poetry “Cathy” Abstract: The opinions of Pound’s imagism absorb rich nutrition in Chinese poetry while his poetic translation and creation also reflects his theory of imagism truly and vividly. In this paper, some of his translations are chosen to be analyzed according to his imagism. Keywords: Pound, Imagism, Cathay When Ezra Pound appeared on the scene in the first years of the twentieth century, the West presented a panorama of a wasteland. It was a world in which Pound saw pervasive and impenetrable gloom, and chaos and disorder and barbarism were rampant everywhere. He considered it his mission to save a tottering civilization. Trying to derive standards from the cultures of the past and resurrect lost principles of order, he became, as M.L.Rosenthal calls him, “the prophet of the open spirit.” [1]（P166）And the nuclear idea is “make it new”. In 1912, Pound and Flint laid down three Imagist poetic principle as an Imagist manifesto: Direct treatment of the “thing,” whether subjective or objective。 To use absolutely no word that does not contribute to the presentation As regarding rhythm, to compose in the sequence of the musical phrase, not in the sequence of a metronome.” [2](P301) Then in 1915, he published his translations of Chinese poetry “Cathay”. At that time, it was the critical point of the Word War I, which made all the people in the world in panic and resulted in the suspicion of western culture relics’ efficiency. This also made Pound realize history is not only a valuable treasure house but also a stage which repressed people and distorted the exchange of idea. As a result, Pound tried to find some value system to help him get rid of the situation. Then he got the greatest cultural influence from ancient China. During the 1870s an American named Ernest Fenollosa had gone to Japan to become an instructor in rhetoric at the Imperial University. Fascinated by Chinese and Japanese art, he had worke