美国现代诗人庞德与中国古代诗歌
中国古典诗歌对庞德的影响
到中国古典诗歌 ， 他如获至宝， 悉心钻研。并从遗稿 中精 心 挑 选 了 １ ９首 诗 ， 将 之翻译成英 文 ， 整 理 成 《 华夏集》 。《 华夏集》 为庞德赢得众多好评 ， 他 因此 获得 了 “ 我们 时代 中国诗歌 发 明者 ” 的称 号 ， 为西 方 现代诗 歌 注 入 了新 的活 力 。庞 德 曾说 ： “ 翻译 可 以
们翻译 、 整理出来 ， 取名《 华夏集 》 。《 华夏集》 的出 版在 西方掀 起 了一股 “ 中国热 ” ， 它极 大 地 推动 了意 象派诗歌在西方的发展 。他从中国诗歌的翻译 中受
益 匪浅 ， 掌握 了中 国诗人 构 建意境 的技 巧 ， 并 将其应 用 于 自己的诗歌 创作 中 。中 国古典 诗歌 不仅 赋予 了 庞德诗 歌 的创作 灵 感 ， 还极 大 地 开 阔 了他 的创 作 视 野， 丰富 了他 的创 作理 论 。他 深 信 中 国诗 歌 能 为美 国新诗 “ 提供具有伟 大的价值和 实用性 的品格” 。 庞德 抨击 传统 的诗学 ， 倡导 意象派 诗歌 ， 为促 进 中西 文化 交流 做 出了 巨大 贡献 。本文 主要从 庞德 的汉 诗
Ｖｏ １ ．１ ３ Ｎｏ ． ５ Ｓ ｅ ｐ． ２ ０１ ３
２ ０ １ ３年 ９月
庞德是美国20世纪初
庞德是美国20世纪初“新诗运动”开风气之先的人物，中国在他心目中是一个具有灿烂文明的古国，因此他认为，中国之于新诗运动，就如希腊之于文艺复兴，他在英美发动意象派诗歌运动，意在借用中国古典诗歌美学支持他的意象派诗歌理论。
他翻译了工程浩大的《大学》、《中庸》和《论语》以及孔子亲定的《诗经》，创造地翻译了遐迩闻名的中国古典歌集《华夏集》（《神州集》），他倾尽全部心血的鸿集巨制《诗章》是一部深沉宏博的诗篇，建筑在他对儒学的独特理解之上。
《诗章》共117章，中国主题在《诗章》中无处不在，从52章到61章共10章，史称“中国诗章”，把中国历史从尧舜一直排到雍正，描写了繁荣昌盛的古代中国，宣扬了孔子的伦理哲学，旨在反对基督教，用他理想化了的儒家政治治理腐败的资本主义制度。
庞德对中国文化和中国诗学锲而不舍地努力理解并全力推介，美国作家很少不通过庞德的译述了解中国的文化和文学（特别是古典诗歌）。
庞德的中国情结凝聚着浓郁的中国儒家文化的神韵。
他于古老的东方文化中重塑了美国作家的中国形象。
早在年轻时期，庞德便对中国古诗有极大兴趣。
1915年，他出版了中国古诗的英语译本，题名为《中国》，收集并翻译了17首诗篇，大部分是李白的作品，此外还有古诗《青青河畔草》等。
在他的《华夏》译诗集的扉页上，有一段简短的注解，说明他的译作是以厄内斯特·弗诺罗塞（ErnestFenollosa）的笔记以及莫利（Mori）和埃列伽（Ariga）两位教授的解释为根据的。
弗诺罗塞是美国的一位研究东方文学与艺术的先驱，曾在日本从事教学工作约12年，回到美国以后，任波士顿博物馆馆长。
显然，庞德通过中介翻译中国古诗，其译作与原文的出入之处在所难免。
比如李白的《长干行》成了英语中的《水路商人的妻子———一封信》；他给我国古诗《青青河畔草》所加的英文标题是《美丽的梳妆台》。
他的译作充分反映了他的丰富想象力，也强烈地表明了他的执著精神和良苦用心。
庞德从翻译中国古诗开始，进而研究中国的古代文明和儒学思想。
试论埃兹拉·庞德对中国古典诗歌的解读与创译
律 。后来 ， 庞德 的漩 涡主义发展 了意象理论 ， 他认 为意象 就是
一
杂的情绪 ， 这或许就是两者形同而意不 同之处 。
二、 庞德对 中国古典诗歌理论 内涵的解读 以庞德多次提到的李白的《 玉阶冤》 为例：
玉 阶 生 白露 ， 久侵 罗袜 。却 下 水 晶 帘 ， 珑 望秋 月 。 夜 玲
Ｔ ｅ ａ ｐ ｒ ｉ ｎ ｏ ｈ ｓ ａ ｅ ｎ ｔｅ ｃｏ ； ｈ ｐ ａ ｉ ｏ ｆ ｔ ｅ ｅ ｆ ｃ ｓ ｉ ｈ ｒｗｄ ｔ
Ｐｅａ ｓ ／ ａ ｔｌ ＯＩ ｗｅ ， ｌｃ ｂｏ ｇ ｔｂａｋ ｕ ｈ．
种表现形式 ； 是有特殊或深刻 意义 的形 象。笼统地说 ， 意象
原 则 ， 者 可 以 在 创 作 的 过 程 中有 意 地 增 加 美 的 艺 术 效 果 。庞 译
力 ； 叶代称传 情之物 ， 红 后来借指 以诗传情 ； 意指气节 ， 竹 积极
向上 ； ， 柳 谐音为“ ， 留” 意思是送 别 ， 留恋 ， 伤感 ， 寓有惜 别怀远 之 意。由此 可见庞德对 中国古典诗词解读功力之深 。 三、 庞德对中国古典诗歌的创造性翻译 庞德在对 中国古典诗 歌 的创译 过程 中 ，主要 以其创 造性
个漩涡 ， 很多思想不断地从 其中产生 ， 穿过或者沉入其 中。 从 以上原则可 以看 出 ，意象派诗歌要让诗意在表 象的描
述 中， 一刹 那间地体 现出来 。主张用鲜 明的形 象去约束感情 ， 不加说教 、 抽象抒情 、 说理 。因此意象派 诗歌短小 、 简练 、 象 形 鲜明。 往往一首诗有一个意象或几个意象 。 意象派是从象征符 号走 向实在 世界 ， 把重点放 在诗 的意象 本身 ， 即具 象性上 ， 让
是思想情感 与具体物象 的完美结合 。而“ 处于 主导地位 ， 意” “ ” 意 决定 了“ ” “ 反映 了“ ”意源 于内心并借助象为依 象 ，象” 意 ； 托 来表 达。意在象 中若 隐若 现 ， 又仿佛 呼之欲 出， 象却似有心 似 无意地一勾一 画一点一染 ， 而为 意增 彩而绽放 。所谓 “ 的 意 暗示 ， 象的契合” 就是这个 道理。 由此总结 ， 喻意之象 的本质 ， 就是 一切可入作 品的事景物 象 ， 与作者 的主观情 意 、 味 、 趣 感 悟相互融合的再创造 、 再表现。 庞德在意象派诗歌 的创作 实践 中总结 出了意象主义创作 的三原则 ， 从理论上肯定了意象主义在美 国文学的地位 ： 用精 确 的语言直接处理诗歌主题 ； 使用简练语 言 ， 取消修饰 的多余
庞德意象派诗歌的中国影子_李红丽
庞德意象派诗歌的中国影子_李红丽庞德意象派诗歌的中国影子李红丽埃兹拉·庞德（Ezra Pound）是英美诗坛20世纪初叶现代诗歌最重要的代表。
1912年，庞德和几个英美诗人在伦敦发起了“意象派运动”，成为英美现代诗歌的先驱。
庞德长期热衷于中国古典哲学和诗歌的研究。
他发现中国古诗和意象派诗歌主张十分吻合。
中国古诗中的意象正是他们所追求的艺术特征。
意象派诗歌理论的核心就是意象，这与中国古诗中的意象可以说属于同一种审美范畴。
作为意象派领军人物，庞德创作受中国古典诗歌影响巨大，处处可见中国诗歌的影子。
一．意象“意象”一词是中国古典文化理论中的一个概念。
意象理论在中国起源很早，《周易·系词》已有“观物取象”、“立象以尽意”之说。
其后，王昌龄、何景明等都在自己的诗学著作中提到“意象”。
他们的用法虽然各异，但都呈现为象，而非纯概念的说理。
“象”指物象，是意象赖以生存的要素。
物象是客观的，但它一旦进入诗人的构思，就带有诗人的主观色彩，并经诗人的审美删选和感情化合而成为诗中的意象。
因此在中国传统诗歌中，意象是融入了主观情感的客观形象，或者是借助客观物象表现出的主观情感。
中国古典诗歌，由于其特别严谨的格律要求以及古汉语的特殊句法形态，往往略去了大部分的关联词、系词以及各种句法标记，几乎只剩下表达具体事物的词。
这样，中国古诗词就取得了高度的意象密度。
例如，马致远的《天净沙·秋思》,“枯藤老树昏鸦，小桥流水人家，古道西风瘦马。
夕阳西下，断肠人在天涯”。
同时，中国古诗强调含蓄美，诗中绝少西方诗歌中常有的抒情、议论。
言不尽意、立象尽之。
诗人要表达的情思与意蕴就通过高度凝练的意象表现出来了。
二．意象派的诞生西方现代派的发端是顺应反传统的要求诞生的。
20世纪初，西方政治、经济的大动荡带来了急剧的社会变化，对人们的思想领域造成巨大的冲击。
当时的英美诗歌界沉闷而保守。
维多利亚时期的诗歌传统仍然根深蒂固。
《华夏集》诗歌
《华夏集》诗歌
《华夏集》是美国诗人埃兹拉·庞德翻译的中国古典诗歌文集。
庞德在诗集中对中国古诗采取了“边译边创”的译介模式，他的译诗主要是在理解原诗的基础上进行的诗歌再创作。
以下是《华夏集》中的一些诗歌：
《长干行》
妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。
《送友人》
青山横北郭，白水绕东城。
此地一为别，孤蓬万里征。
浮云游子意，落日故人情。
挥手自兹去，萧萧班马鸣。
《黄鹤楼送孟浩然之广陵》
故人西辞黄鹤楼，烟花三月下扬州。
孤帆远影碧空尽，惟见长江天际流。
这些诗歌都是庞德从中国古典诗歌中选取并进行翻译的，展示了中国古诗的魅力和美学特点。
同时，庞德的翻译也融入了他个人的现代主义诗学创作理念，使得《华夏集》在英语世界引起了极大反响。
如需更多信息，可以阅读埃兹拉·庞德翻译的《华夏集》原著或相关评论。
庞德与许渊冲中国古典诗歌翻译理论比较[论文]
![庞德与许渊冲中国古典诗歌翻译理论比较[论文]](https://img.taocdn.com/s3/m/480fe3721711cc7931b71620.png)
庞德与许渊冲中国古典诗歌翻译理论比较摘要：中国古典诗歌是世界文学宝库里一颗璀璨的明珠。
多年来，中外学者不仅在实践方面对中国古诗的翻译做出了巨大的贡献，而且还就中国古典诗歌的翻译理论提出了各自精辟的见解。
本文通过比较庞德和许渊冲的译诗，探讨他们各自的翻译理论，旨在为中国古诗英译研究提出新的思路和研究视角，为中国古诗英译的发展贡献自己的力量。
关键词：庞德许渊冲中国古典诗歌翻译理论1.引言中国古典诗歌是中华民族文化之瑰宝，中国文学之精髓，其文化内涵丰富，具有独特的艺术风格。
因此，古诗英译对中国古典文学的对外传播和中西文化交流具有重大意义。
早期，古诗翻译主要有以下三种形式：翟理斯为代表的意译法，庞德的创造性翻译法，以及亚瑟·韦利的直译法。
当代中国，翁显良和许渊冲则是这一领域的佼佼者。
前者倾向于归化翻译法，后者比较注重译诗的韵律。
不论何种翻译方法，这些学者都以自己与众不同的翻译理论和技巧获得了很大的成功。
本文通过对比分析庞德和许渊冲所翻译的具体文本，对二者的翻译理论进行比较。
相同的文本，二者却创造出大相径庭的译文，而他们各自的译文在不同的时代又都取得了巨大的成功。
可见，翻译过程中，译者可以根据不同的翻译对象及翻译目标，选择翻译策略，译出符合要求的译文，最终实现翻译目的。
2. 庞德、许渊冲翻译理论比较庞德是意象派的灵魂人物，他早年对中国古典诗歌十分推崇，是对中国诗歌最热情的美国现代诗人。
他认为文学爱好者不仅能从翻译实践中得到训练，而且能从语言本身得到益处。
他主张以自由诗体翻译中国古诗。
译诗应尽量准确、简洁，保留原诗中“不可破坏的”部分。
（pound， 1913： 707）笔者认为，庞德的翻译实质上是一种“忠实的创造”。
所谓“忠实”，即翻译要在意义、风格及氛围上忠实原文。
所谓“创造”，即他认为“诗歌的内在思想既可以用韵律诗体也可以用无韵诗体展现出来”。
然而，这些“创造”是在他忠实的语言翻译的限度之内的。
中国古典诗歌对庞德诗歌创作的影响
试论中国古典诗歌对庞德诗歌创作的影响摘要：埃兹拉·庞德（ezra pound）是20世纪美国意象派诗歌运动的先驱，是英美现代诗坛上最具有影响力的诗豪。
中国古典诗歌不仅赋予了庞氏诗歌创作的灵感，拓宽了其诗歌创作的视野，而且还丰富了其诗歌创作的理论。
因此，本文从以上三个方面进行探讨，意图发掘中国古典诗歌对庞德诗歌产生的重要影响。
关键词：古典诗歌；庞德；诗歌创作；影响中图分类号：i206文献标识码：a 文章编号：1009-0118（2011）-01-00-02一、中国古典诗歌赋予庞氏诗歌创作的灵感（一）“意象理论”赋予庞氏诗歌创作的灵感“意象”一词最早见于《易经》，《易经》中有“圣人立象以尽意”之说。
此处的“象”，本指《易经》中的卦象，是外在表象的呈现态，即客观物质世界；“意”本指《易经》所涵盖的“道”，是内在意义的体现，即人的主观思想观念。
通过“象”去表达“意”，从而达到两方面的和谐一致，这是一种关于世界的认识观。
刘勰首次将“意象”这一概念运用于诗歌创作中，力主“寻声律而定墨，窥意象而运斤；此盖驭文之首术，谋篇之大端。
”此后，“意象”一词逐渐运用于诗歌创作与批评中，并不断丰富深化其蕴含之意。
古诗注重意象的创造，意境辽远，意象丰富，代表了中国古典诗歌的最高成就。
其中的“意象”在于含蓄而形象地表达“人生微妙的刹那”（叶绪民等，2004：291）。
中国古诗惯于将多个意象同时并置，呈现在读者面前，颇有利用蒙太奇手法产生的效果。
如马致远的《天净沙?秋思》：“古藤老树昏鸦，小桥流水人家，古道西风瘦马。
夕阳西下，断肠人在天涯。
”作者将十二个意象并置叠加，呈现出一幅带有悲凉色彩的画面，刻画出一个在黄昏时分漂泊于西风古道上的游子形象。
庞氏诗歌创作之中大量意象的并置，就是中国古典诗歌“意象理论”赋予其诗歌创作的灵感的。
（二）中国古典诗风赋予西方意象派诗歌创作的灵感西方意象派的产生最初是对当时诗坛文风的一种反驳。
庞德曾将中国文学史中所译的汉诗
庞德曾将中国文学史中所译的汉诗
庞德曾将中国文学史中所译的汉诗涉及了许多著名的文人作品和诗人，包括：
1. 李白：庞德曾翻译了李白的多首诗歌作品，例如《静夜思》、《登金陵凤凰台》等。
2. 杜甫：庞德曾翻译了杜甫的一些著名诗歌，如《月夜忆舍弟》、《闻官军收河南河北》等。
3. 陆游：庞德曾翻译了陆游的《秋夜将晓出篱门迎凉有感二首》等诗作。
4. 苏轼：庞德曾翻译了苏轼的一些著名诗作，如《江城子·密
州出猎》、《水调歌头·明月几时有》等。
此外，庞德曾还翻译了其他一些中国古代文人的诗歌作品，如刘禹锡、王之涣、王维等。
他的翻译作品涉及了中国古代文学史上许多重要的文人和作品，为国内外读者提供了一扇了解中国文学的窗口。
简析庞德的_在地铁车站_中的中国古典诗歌影响
产 生 了 无 穷 的 意 义 。这 首 诗 很 容 易 让 人 想 起 白 居 易 的“玉 容 寂 寞泪阑干， 梨花一枝春带雨”。这两首诗的第一句都是面孔， 后 一 句 都 是 花 ， 中 间 也 都 无 连 接 词 ， 都 运 用 了“ 意 象 迭 加 ”的 手 法。我国古诗中意象迭加的范例还很多， 比如： 马致远的“枯藤 老 树 昏 鸦 ， 小 桥 流 水 人 家 ”， 司 空 曙 的“雨 中 黄 叶 树 ， 灯 下 白 头 人”等这样的诗句。这一技巧是庞德在翻译中国古诗中发现 的， 他自己也承认其创作是在中国古诗的影响下完成的。我们 看到了中国诗歌给予意象派的深远影响， 但也应该看到， 由于 中西文化的巨大落差， 意象派诗人在接受中国诗的影响时也 是有局限和误读的， 他们对中国诗的真谛的感悟还存在着距 离。中国传统诗学讲究意、象、言之间的辩证关系， 意象只是表 现情绪的手段； 而意象派把注意力放在意象所引起的感觉上， 用感觉和情绪把意象串起来， 而不去探求事物之间的本质联 系， 也不考察或阐发这种联系的社会意义， 意象成了意象派诗 歌的终极目标， 而这一点， 恰恰是意象派诗歌与中国古典诗歌 的根本区别之所在。
其次， 意象派诗人不仅模仿我国古诗运用意象的手法， 还 模仿汉语的语法特点进行创作， 由于我国古典诗歌特别严谨 的格律要求以及古汉语特殊的句法形式， 往往略去了大部分 联结词、系词以及各种句法标记， 几乎只剩下光裸裸的表现事 物的词， 达到相当的意象密度， 每一个意图都出于独立的意 象， 而意象之间的基本状态是“脱节”。正如孙绍振先生在评论 中国古典诗歌时说 ：“它所擅长的是情景交融， 它所追求的是 意境。它往往避免形象间的逻辑关系的过分明确， 它往往省略 有 助 于 逻 辑 推 理 的 连 接 词 以 及 明 确 语 法 关 系 的 介 词 。”例 如 马 致 远 的《天 净 沙·秋 思 》， 一 开 始 就 托 出 九 个 汉 字 构 成 的 意 象 ： 枯 藤 、老 树 、昏 鸦 、小 桥 、流 水 、人 家 、古 道 、西 风 、瘦 马 。 每 一 个 意 象 都 是 诉 诸 视 觉 的“眼 中 之 景 ”， 但 每 一 个 意 象 也 都 浸 润 着 诗 人 自 然 而 然 的“胸 中 之 情 ”。所 有 词 和 词 组 都 是 互 不 关 联 的 ， “脱节”现象极为严重。庞德为了尽量靠近我国古诗的句法， 以 达到简洁、凝练， 几经删改从原来的３０行变成现在的２行， 是两
庞德的《神州集》与中国古典诗歌现代化
第 ３期 ２１ ０ ０年 ６月
华北 电 力大学 学报 （ 会 科 学版 ） 社
Ｊ ｕ ｎ ｏｆ ｈＣｈｎ ｌｃ ｃ Ｐ ｗｅ ｉｅ ｓｔ Ｓ ｃ ａ ｃｉｎ ｅ ｝ ｏ ａ【 ｒ ｉａ Ｅｅ ｔｉ ｏ Ｕｎｖ ｉ ｒ Ｎｏ ｔ ｒ ｒ ｒ ｙ（ ｏ ｉ Ｉ ｅ ｃ ｓ Ｓ
情、 矫揉 造作 、 雕琢 空洞 、 饰拟 古 的诗风 。 藻 庞 德 因此 决 心 改 变 诗坛 的 风气 。综 其 一 生 ，
初 的英美诗 坛 不 断标 新 立 异 ， 遗 余 力 的 倡 导对 不
英语 诗歌传 统 的革新 。其 主要 原 因之一 在 于他认
为 当时 的英 美 现代诗 坛 因循保 守 ， 死气 沉沉 ， 无 毫
创新 。艾 略特 （ Ｔ．Ｓ ｌ ｔ １ ８ — １ ６ ） 曾 对 ．Ｅ ｉ ， ８ ８ ９ ５ 就 ｏ １１ ９ ０年 至 ｌ ３ ９ ０年的 英美 诗歌 进 行 评 价说 ： 英语 “ 诗歌 ， 的来说 ， 以说 越 来 越糟 糕 ， 总 可 …… 思 想状 况 还 停 留 在 华 兹 华 斯 时 代 和 丁 尼 生 时 代 。 ” （ ｌ ｔ１ １ ： ） 略特 认 为华 兹 华 斯 和 丁 尼 生在 Ｅ ｉ ，９ ８ ５ 艾 ｏ
庞德译中国古代诗歌《神州集》
CATHAYFor the most part from the Chinese ofRihaku, from the notes of the lateErnest Fenollosa, and theDecipherings of theprofessors Moriand Ariga(1915)Here is the complete text for each of the nineteen poems originally appearing in Ezra Pound's 1915 collection Cathay. Neither rightly translations nor original poems, they are instead an ingenious highbred devised by the young Pound soon after the widow of Ernest Fenollosa appointed him the literary executor of her husband's work. Pound discovered a working manuscript of notes on a series of poems by the Chinese poets Li P'o and Wang We'i, among others. (Fenollosa provided the Japanese equivalents of their names, Rihaku and Omakitsu, respectively.) When writing the poems, Pound had little knowledge of either the Chinese language or its ideograms. From the time of their original publication and through most of the 20th Century, Pound's creative explorations provided both a profound inspiration and a source for great debate. The Cathay poems have undergone scrutiny and controversy for nearly a hundred years while at the same time having a profound influence on Western poetry, including major American and European poets throughout the 20th Century. It greatly encouraged and influenced the imagist movement. It's style was easily akin to the straighforward American style of poetry.SONG OF THE BOWMAN OF SHUHere we are, picking the first fern-shootsAnd saying: When shall we get back to our country?Here we are because we have the Ken-nin for our foemen,We have no comfort because of these Mongols.We grub the soft fern-shoots,When anyone says "Return," the others are full of sorrow. Sorrowful minds, sorrow is strong, we are hungry and thirsty. Our defense is not yet made sure, no one can let his friend return. We grub the old fern-stalks.We say: Will we be let to go back in October?There is no ease in royal affairs, we have no comfort.Our sorrow is bitter, but we would not return to our country. What flower has come into blossom?Whose chariot? The General's.Horses, his horses even, are tired. They were strong.We have no rest, three battles a month.By heaven, his horses are tired.The generals are on them, the soldiers are by them.The horses are well trained, the generals have ivory arrows and quivers ornamented with fish-skin.The enemy is swift, we must be careful.When we set out, the willows were drooping with spring,We come back in the snow,We go slowly, we are hungry and thirsty,Our mind is full of sorrow, who will know of our grief?by Bunno — Reputedly 1100 B.CTHE BEAUTIFUL TOILETBlue, blue is the grass about the riverAnd the willows have overfilled the close garden.And within, the mistress, in the midmost of her youth,White, white of face, hesitates, passing the door.Slender. she puts forth a slender hand;And she was a courtezan in the old days,And she has married a sot,Who now goes drunkenly outAnd leaves her too much alone.by Mei Sheng B.C. 140THE RIVER SONGThis boat is of shato-wood, and its gunwales are cut magnolia, Musicians with jeweled flutes and with pipes of goldFill full the sides in rows, and our wineIs rich for a thousand cups.We carry singing girls, drift with the drifting water,Yet Sennin needsA yellow stork for a charger, and all our seamenWould follow the white gulls or ride them.Kutsu's prose songHangs with the sun and moon.King So's terraced palaceis now but barren hill,But I draw pen on this bargeCausing the five peaks to tremble,And I have joy in these wordslike the joy of blue islands. (If glory could last foreverThen the waters of Han would flow northward.)And I have moped in the Emperor's garden, awaiting an order- to-write!I looked at the dragon-pond, with its willow-colored waterJust reflecting in the sky's tinge,And heard the five-score nightingales aimlessly singing.The eastern wind brings the green color into the island grasses at Yei-shu,The purple house and the crimson are full of Spring softness. South of the pond the willow-tips are half-blue and bluer,Their cords tangle in mist, against the brocade-like palace.Vine strings a hundred feet long hang down from carved railings, And high over the willows, the find birds sing to each other, and listen,Crying—'Kwan, Kuan,' for the early wind, and the feel of it.The wind bundles itself into a bluish cloud and wanders off. Over a thousand gates. over a thousand doors are the sounds of spring singing,And the Emperor is at Ko.Five clouds hang aloft, bright on the purple sky,The imperial guards come forth from the goldren house with their armor a-gleaming.The Emperor in his jeweled car goes out to inspect his flowers, He goes out to Hori, to look at the wing-flapping storks,He returns by way of Sei rock, to hear the new nightingales,For the gardens of Jo-run are full of new nightingales,Their sound is mixed in this flute,Their voice is in the twelve pipes hereby Rihaku8th Century A.D.THE RIVER MERCHANT'S WIFE: A LETTERWHILE my hair was still cut straight across my foreheadPlayed I about the front gate, pulling flowers.You came by on bamboo stilts, playing horse,You walked about my seat, playing with blue plums.And we went on living in the village of Chokan:Two small people, without dislike or suspicion.At fourteen I married My Lord you,I never laughed, being bashful.Lowering my head, I looked at the wall.Called to, a thousand times, I never looked back.At fifteen I stopped scowling,I desired my dust to be mingled with yoursForever and forever and forever.Why should I climb the look out?At sixteen you departed,You went into fat Ku-to-yen, by the river of swirling eddies,And you have been gone five months.The monkeys make sorrowful noise overhead.You dragged your feet when you went out.By the gate now, the moss is grown, the different mosses,Too deep to clear them away!The leaves fall early in autumn, in wind.The paired butterflies are already yellow with AugustOver the grass in the West garden;They hurt me. I grow older.If you are coming down through the narrows of the river Kiang, Please let me know beforehand,And I will come out to meet youAs far as Cho-fu-Sa.by RihakuPOEM BY THE BRIDGE AT TEN-SHINMarch has come to the bridge head,Peach boughs and apricot boughs hang over a thousand gates, At morning there are flowers to cut the heart,And evening drives them on the eastward-flowing waters. Petals are on the gone waters and on the going,And on the back-swirling eddies,But to-day's men are not the men of the old days,Though they hang in the same way over the bridge-rail.The sea's color moves at the dawnAnd the princes still stand in rows, about the throne,And the moon falls over the portals of Sei-go-yo,And clings to the walls and the gate-top.With head gear glittering against the cloud and sun,The lords go forth from the court, and into far borders.They ride upon dragon-like horses,Upon horses with head-trappings of yellow metal,And the streets make way for their passage.Haughty their passing,Haughty their steps as they go into great banquets,To high halls and curious food,To the perfumed air and girls dancing,To clear flutes and clear singing;To the dance of the seventy couples;To the mad chase through the gardens.Night and day are given over to pleasureAnd they think it will last a thousand autumns.Unwearying autumns.For them the yellow dogs howl portents in vain,And what are they compared to the lady Riokushu,That was cause of hate!Who among them is a man like Han-reiWho departed alone with his mistress,With her hair unbound, and he his own skiffsman!by RihakuTHE JEWEL STAIR'S GRIEVANCEThe jeweled steps are already quite white with dew,It is so late the dew soaks my gauze stockings,And I let down the crystal curtainAnd watch the moon through the clear autumnby RihakuNote.—Jewel stairs, therefore a palace. Grievance, therefore there is something to complain of. Gauze stockings, therefore a court lady, not a servant who complains. Clear autumn, there fore he has no excuse on account of the weather. Also she has come early, for the dew has not merely whitened the stairs, but soaks her stockings. The poem is especially prized because she utters no direct reproach.LAMENT OF THE FRONTIER GUARDBy the north gate, the wind blows full of sand,Lonely from the beginning of time until now!Trees fall, the grass goes yellow with autumn,I climb the towers and towersto watch out the barbarous land:Desolate castle, the sky, the wide desert.There is no wall left to this village.Bones white with a thousand frosts,High heaps, covered with trees and grass;Who brought this to pass?Who was brought the flaming imperial anger?Who has brought the army with drums and with kettle-drums?Barbarous kings.A gracious spring, turned to blood-ravenous autumn,A turmoil of wars-men, spread over the middle kingdom,Three hundred and sixty thousand,And sorrow, sorrow like rain.Sorrow to go, and sorrow, sorrow returning.Desolate, desolate fields,And no children of warfare upon them,No longer the men for offence and defense.Ah, how shall you know the dreary sorrow at the North Gate,With Rihaku's name forgottenAnd we guardsmen fed to the tigersby RihakuEXILE'S LETTERTo So-Kin of Rakuyo, ancient friend, Chancellor of Gen.Now I remember that you built me a special tavernBy the south side of the bridge at Ten-Shin.With yellow gold and white jewels we paid for the songs and laughter,And we were drunk for month after month, forgetting the kings and princes.Intelligent men came drifting in, from the sea from the west border And with them, and with you especially,There was nothing at cross-purpose,And they made nothing of sea-crossing or of mountain-crossing,If only they could be of that fellowship,And we all spoke out our hearts and minds, and without regret. And then I was sent off to South Wei,smothered in laurel groves,And you to the north of Raku-hoku,Till we had nothing but thoughts and memories in common.And then, when separation had come to its worstWe met, and travelled into Sen-GoThrough all the thirty-six folds of the turning and twisting waters, Into a valley of a thousand bright flowers,That was the first valley;And on into ten thousand valleys full of voices and pine-winds. And with silver harness and reins of gold,prostrating themselves on the ground,Out came the East of Kan foreman and his company.And there came also the 'True-man' of Shi-yo to meet me, Playing on a jeweled mouth-organ.In the storied houses of San-Ko they gave us more Sennin music, Many instruments, like the sound of young phoenix broods.The foreman of Kan-Chu, drunk, dancedbecause his long sleeves wouldn’t keep stillWith that music playing.And I, wrapped in brocade, went to sleep with my head on his lap, And my spirit so high it was all over the heavens.And before the end of the day we were scattered like stars or rain.I had to be off to So, far away over the waters,You back to your river-bridge.And your father, who was brave as a leopard,Was governor in Hei-Shu and put down the barbarian rabble.And one May he had you send for me,despite the long distance;And what with broken wheels and so on, I won’t say it wasn’thard going,Over roads twisted like sheep’s guts.And I was still going, late in the year,in the cutting wind from the North,And thinking how little you cared for the cost,and you caring enough to pay it.Then what a reception:Red jade cups, food well set on a blue jeweled table,And I was drunk, and had no thought of returning.And you would walk out with me to the western corner of the castle, To the dynastic temple, with water about it clear as blue jade,With boats floating, and the sound of mouth-organs and drums, With ripples like dragon-scales, going glass green on the water, Pleasure lasting, with courtesans going and coming withouthindrance,With the willow-flakes falling like snow,And the vermilioned girls getting drunk about sunset,And the waters a hundred feet deep reflecting green eyebrows —Eyebrows painted green are a fine sight in young moonlight, Gracefully painted—And the girls singing back at each other,Dancing in transparent brocade,And the wind lifting the song, and interrupting it,Tossing it up under the clouds.And all this comes to an end.And is not again to be met with.I went up to the court for examination,Tried Layu’s luck, offered the Choyo song,And got no promotion,and went back to the East MountainsWhite-headed.And once again, later, we met at the South bridgehead.And then the crowd broke up, you went north to San palace,And if you ask how I regret that parting:It is like the flowers falling at Spring’s end,Confused, whirled in a tangle.What is the use of talking, and there is no end of talking,There is no end of things in the heart.I call in the boy,Have him sit on his knees hereTo seal this,And I send it a thousand miles, thinking.by RihakuFOUR POEMS OF DEPARTURELight rain is on the light dustThe willows of the inn-yardWill be going greener and greener,But you, Sir, had better take wine ereyour departure,For you will have no friends about youWhen you come to the gates of Go.(Rihaku or Omakittsu) Separation on the River KiangKo-jin goes west from Ko-kaku-ro,The smoke flowers are blurred over the river.His lone sail blots the far sky.And now I see only the river,The long Kiang, reaching heaven.RihakuTaking Leave of a FriendBlue mountains to the north of the walls,White river winding about them;Here we must make separationAnd go out through a thousand miles of dead grass.Mind like a floating white cloud,Sunset like the parting of old aquaintancesWho bow over their clasped hands at a distance.Our horses neigh to each otheras we are departingRihakuLeave-taking Near ShokuThey say the roads of Sanso are steep,Sheer as the mountains.The walls rise in a man's face,Clouds grow out of the hillat his horse's bridle.Sweet trees are on the paved way of the Shin,Their trunks burst through the paving,And freshets are bursting their icein the midst of Shoku, a proud city.Men's fates are already set,There is no need of asking divinersRihaku The City of ChoanThe phoenix are at play on their terrace.The phoenix are gone, the river flows on aloneFlowers and grassCover over the dark pathwhere lay the dynastic house of the Go.The bright cloths and bright caps of the ShinAre now the base of old hills.The Three Mountains fall through the far heaven,The isle of White Heronsplits the two streams apart.Now the high clouds cover the sunAnd I can see Choan afarAnd I am sad.South-Folk in Cold CountryThe Dai horse neighs against the bleak wind of Etsu,.The birds of Etsu have no love for En, in the north,Emotion is born out of habit,*Yesterday we went out of the Wild-Goose gate,Today from the Dragon-Pen.Surprised. Desert turmoil. Sea sun.Flying snow bewilders the barbarian heaven.Lice swarm like ants over our accoutrements.Mind and spirit drive on the feathery banners.Hard fight gets no reward.Loyalty is hard to explain.Who will be sorry for General Rishogu,the swift moving,Whose white head is lost for this province?* I.e., we have been warring from one end of the empire to the other, now east, now west, on each border.Sennin Poem by KakuhakuThe red and green kingfishersflash between the orchids and clover,One bird casts its gleam on anotherGreen vines hang through the high forest,They weave a whole roof to the mountain,The lone man sits with shut speech,He purrs and pats the clear strings.He throws his heart up through the sky,He bights through the flower pistiland brings up a fine fountain.The red-pine-tree god looks at him and wonders.He rides through the purple smoke to visit the sennin,He takes 'Floating Hill'* by the sleeve,He claps his hand on the back of the great white sennin.But you, you dam'd crowd of gnats,Can you even tell the age of a turtle?* Name of sennin (spirit.)A Ballad of the Mulberry RoadThe sun rises in south east cirner of thingsTo look on the tall house of the ShinFor they have a daughter names Rafu,(pretty girl)She made the name for herself: 'Gauze Veil,'For she feeds mulberries to silkworms.She gets them by the south wall of the town.With green strings she makes the warp of her basketShe makes the shoulder-straps of her basketfrom the boughs of Ketsura,And she piles her hair up on the left side of herhead-piece.Her earring are made of pearl,Her underskirt is of green pattern-silk,Her overskirt is the same silk dyed in purple,And when men going by look at RafuThey set down their burdens,They stand and twirl their moustaches.(Fenolloso Mss., very early) Old Idea of Choan by RosoriuIThe narrow streets cut into the wide highway at Choan,Dark oxen, white horses,drag on the seven coaches with outridersThe coaches are perfumed wood,The jeweled chair is held up at the crossway,Before the royal lodge:A glitter of golden saddles, awaiting the princes;They eddy before the gate of the barons.The canopy embroidered with dragonsdrinks in and casts back the sun.Evening comes.The trappings are bordered with mist.The hundred cords of mist are spread throughdrinks in and casts back the sun.and double the trees,Night birds, and night women,Spread out their sounds through the gardens.IIBirds with flowery wing, hovering butterfliescrowd over the thousand gates,Trees that glitter like jade,terraces tinged with silver,The seed of a myriad hues,A net-work of arbors and passages and covered ways,Double towers, winged roofs,border the network of ways:A place of felicitous meeting.Riu's house stands out on the sky,with glitter of colorAs Butei of Kan made the high golden lotusto gather his dews,Before it another house which I do not know:How shall we know all the friendswhom we meet on strange roadways?To Em-mei's "The Unmoving Cloud"' Wet springtime.' says To-em-mei,' Wet spring in the garden.'IThe clouds have gathered, and gathered,and the rain falls and falls,The eight ply of the heavensare all folded into one darkness,And the wide, flat road stretches out.I stop in my room towards the East, quiet, quiet,I pat my new cask of wine.My friends are estranged, or far distant,I bow my head and stand still.IIRain, rain, and the clouds have gathered,The eight ply of the heavens are darkness,The flat land is turned into river.'Wine, wine. here is wine!'I drink by my eastern windowI think of talking and man,And no boat, no carriage, approaches.IIIThe trees in my east-looking gardenare bursting out with new twigs,They try to stir new affectionAnd men say the sun and moon keep on movinbecause they can't find a soft seat.The birds flutter to rest in my tree,and I think I have heard them saying,'It is not that there are no other menBut we like this fellow the best,But however we long to speakHe cannot know of our sorrow.'T'ao Yuan MingA.D. 365-427RIPOSTES(1915)Ezra PoundThe SeafarerFrom the Anglo-SaxonMay I for my own self song's truth reckon,Journey's jargon, how I in harsh daysHardship endured oft.Bitter breast-cares have I abided,Known on my keel many a care's hold,And dire sea-surge, and there I oft spentNarrow nightwatch nigh the ship's headWhile she tossed close to cliffs. Coldly afflicted,My feet were by frost benumbed.Chill its chains are; chafing sighsHew my heart round and hunger begotMere-weary mood. Lest man know notThat he on dry land loveliest liveth,List how I, care-wretched, on ice-cold sea,Weathered the winter, wretched outcastDeprived of my kinsmen;Hung with hard ice-flakes, where hail-scur flew,There I heard naught save the harsh seaAnd ice-cold wave, at whiles the swan cries,Did for my games the gannet's clamour,Sea-fowls, loudness was for me laughter,The mews' singing all my mead-drink.Storms, on the stone-cliffs beaten, fell on the sternIn icy feathers; full oft the eagle screamedWith spray on his pinion.Not any protectorMay make merry man faring needy.This he little believes, who aye in winsome lifeAbides 'mid burghers some heavy business,Wealthy and wine-flushed, how I weary oftMust bide above brine.Neareth nightshade, snoweth from north,Frost froze the land, hail fell on earth thenCorn of the coldest. Nathless there knocketh nowThe heart's thought that I on high streamsThe salt-wavy tumult traverse alone.Moaneth alway my mind's lustThat I fare forth, that I afar henceSeek out a foreign fastness.For this there's no mood-lofty man over earth's midst,Not though he be given his good, but will have in his youth greed; Nor his deed to the daring, nor his king to the faithfulBut shall have his sorrow for sea-fareWhatever his lord will.He hath not heart for harping, nor in ring-havingNor winsomeness to wife, nor world's delightNor any whit else save the wave's slash,Yet longing comes upon him to fare forth on the water.Bosque taketh blossom, cometh beauty of berries,Fields to fairness, land fares brisker,All this admonisheth man eager of mood,The heart turns to travel so that he then thinksOn flood-ways to be far departing.Cuckoo calleth with gloomy crying,He singeth summerward, bodeth sorrow,The bitter heart's blood. Burgher knows not—He the prosperous man—what some performWhere wandering them widest draweth.So that but now my heart burst from my breast-lock,My mood 'mid the mere-flood,Over the whale's acre, would wander wide.On earth's shelter cometh oft to me,Eager and ready, the crying lone-flyer,Whets for the whale-path the heart irresistibly,O'er tracks of ocean; seeing that anyhowMy lord deems to me this dead lifeOn loan and on land, I believe notThat any earth-weal eternal standethSave there be somewhat calamitousThat, ere a man's tide go, turn it to twain.Disease or oldness or sword-hateBeats out the breath from doom-gripped body.And for this, every earl whatever, for those speaking after—Laud of the living, boasteth some last word,That he will work ere he pass onward,Frame on the fair earth 'gainst foes his malice,Daring ado...So that all men shall honour him afterAnd his laud beyond them remain 'mid the English, Aye, for ever, a lasting life's-blast,Delight mid the doughty.Days little durable,And all arrogance of earthen riches,There come now no kings nor CaesarsNor gold-giving lords like those gone.Howe'er in mirth most magnified,Whoe'er lived in life most lordliest,Drear all this excellence, delights undurable!Waneth the watch, but the world holdeth.Tomb hideth trouble. The blade is layed low.Earthly glory ageth and seareth.No man at all going the earth's gait,But age fares against him, his face paleth,Grey-haired he groaneth, knows gone companions, Lordly men are to earth o'ergiven,Nor may he then the flesh-cover, whose life ceaseth,Nor eat the sweet nor feel the sorry,Nor stir hand nor think in mid heart,And though he strew the grave with gold,His born brothers, their buried bodiesBe an unlikely treasure hoard."Seafarer" appeared inRipostes (1912) and thenagain in Cathay (1915)The AlchemistChant for the Transmutation of MetalsSAÎL of Claustra, Aelis, Azalais,As you move among the bright trees;As your voices, under the larches of ParadiseMake a clear sound,Saîl of Claustra, Aelis, Azalais,Raimona, Tibors, Berangèrë,'Neath the dark gleam of the sky;Under night, the peacock-throated,Bring the saffron-coloured shell,Bring the red gold of the maple,Bring the light of the birch tree in autumnMirals, Cembelins, Audiarda,Remember this fire. Elain, Tireis, Alcmena'Mid the silver rustling of wheat,Agradiva, Anhes, Ardenca,From the plum-coloured lake, in stillness,From the molten dyes of the waterBring the burnished nature of fire;Briseis, Lianor, Loica,From the wide earth and the olive,From the poplars weeping their amber,By the bright flame of the fishing torchRemember this fire. Midonz, with the gold of the sun, the leaf of the popIar, by the light of the amber,Midonz, daughter of the sun, shaft of the tree,silver of the leaf, light of the yellow of the amber, Midonz, gift of the God, gift of the light,gift of the amber of the sun,Give light to the metal. Anhes of Rocacoart, Ardenca, Aemelis,From the power of grass,From the white, alive in the seed,From the heat of the bud,From the copper of the leaf in autumn,From the bronze of the maple, from the sap in the bough;Lianor, Ioanna, Loica,By the stir of the fin,By the trout asleep in the grey green of water;Vanna, Mandetta, Viera, Alodetta, Picarda, ManuelaFrom the red gleam of copper,Ysaut, Ydone, slight rustling of leaves,Vierna, Jocelynn, daring of spirits,By the mirror of burnished copper,O Queen of Cypress,Out of Erebus, the flat-lying breadth,Breath that is stretched out beneath the world:Out of Erebus, out of the flat waste of air, lying beneath the world;Out of the brown leaf-brown colourlessBring the imperceptible cool.Elain, Tireis, Alcmena,Quiet this metal!Let the manes put off their terror, let them put off their aqueous bodies with fire. Let them assume the milk-white bodies of agate.Let them draw together the bones of the metal.Selvaggia, Guiscarda, Mandetta,Rain flakes of gold on the water,Azure and flaking silver of water,Alcyon, Phaetona, Alcmena,Pallor of silver, pale lustre of Latona,By these, from the malevolence of the dewGuard this alembic.Elain, Tireis, AlodettaQuiet this metal.。
庞德意象诗与中国古典诗歌_葛纪红
第8卷第2期2008年6月 江苏科技大学学报(社会科学版)Jour nal of Jiang su U niver sity o f Science and T echno lo gy(Social Science Editio n)Vo l.8N o.2Jun.2008文章编号:1673-0453(2008)02-0085-04庞德意象诗与中国古典诗歌葛纪红(江苏科技大学外国语学院,江苏镇江212003)摘 要:20世纪英美意象派诗歌的创始人埃兹拉·庞德深受中国古典诗歌的影响。
以中国古典诗歌美学为支撑,庞德提出了以“意象”为其核心范畴的意象派理论。
由于中西文学在社会文化、历史背景和审美价值体系等方面存在差异,庞德在接受中国古典诗歌影响时存在着一定的局限性。
两者诗学理论主张有别,庞德意象诗与中国古典诗歌之间不可避免地存在差异。
关键词:诗歌;意象;庞德;中国古典诗歌;差异中图分类号:I106.2 文献标识码:A 埃兹拉·庞德(Ezra Pound)是20世纪英美文学中,尤其是在诗歌方面最重要的代表人物。
1912年,庞德和几个英美诗人在伦敦发起了“意象派运动”,成为美国现代诗歌的发轫。
庞德长期热衷于中国历史哲学和古典诗歌的研究,并深受其影响。
以中国古典诗歌美学为支撑,庞德提出了以“意象”为其核心范畴的意象派理论。
他的诗歌理论和创作在很长时期内对英美文学中的诗歌创作产生了巨大影响。
庞德主张的意象和中国古典诗歌的意象虽属同一美学范畴,但由于中西文学在社会文化、历史背景和审美价值体系等方面存在差异,庞德在接受中国古典诗歌影响时存在着一定的局限性。
两者诗学理论主张有别,庞德意象诗作、译作与中国古典诗歌之间不可避免地存在差异。
一、庞德与意象派意象主义被认为是20世纪英美诗歌史上一次最重要的运动。
几乎可以说,与庞德同时代以及庞德之后的诗人无一不受意象派诗歌理论和创作的影响。
意象派理论强调对本源的浪漫回归和对不必要的繁琐的简化。
试论中国古典诗歌对庞德诗歌创作与翻译的影响
2012年12月外国语文双月刊Dec．．2012第28卷第6期 ForeignLanguageandLiterature bimonthly Vo1．28 No．6试论中国古典诗歌对庞德诗歌创作与翻译的影响龚帆元宁德师范学院外语系，福建宁德352100提要：庞德是20世纪美国意象派诗歌运动公认的领袖，其诗歌创作对英美现代诗坛产生了深远的影响。
然而究其渊源，应归功于中国古典诗歌。
文章从中国古典诗歌赋予其诗歌创作与翻译灵感、拓宽其诗歌创作与翻译视野、丰富其诗歌创作与翻译理论等方面入手，探讨其对庞德诗歌产生的重要影响。
关键词：古典诗歌；庞德；诗歌创作；翻译；影响中图分类号：H315．9 文献标识码：A 文章编号：1674―6414 2012 06―0125―04onHow theChineseClassicPoetryInfluencesEzraPoundinHisPoeticW ritingandTranslationGONG Fan―yuanAbstract：EzraPoundisawell―recognizedleaderintheAmericanima~stpoetrymovementinthe20thcentury．Hi spoemwritinghasexertedafar-reachinginfluenceonmodem An o―Americanpoeticalcircles．AsregardshisSllCCeSS，heshouldoweittotheChineseclassicpoetrywhichcastsgreatinfluencesonhispoem writing．Inthisessay，theauthorexploresthefollowingaspectsofhow theChineseclassicpoetryhasendowedhim withinspiration，widenedhishorizonsandalsoen-richedhistheoriesinhispoem writingandtranslation．Keywords：Chineseclassicpoetry；Pound；poetry writing；trnaslation；influence埃兹拉 ??庞德 EzraPound 是20世纪美国意象派诗歌象同时并置，呈现在读者面前，颇有利用蒙太奇手法产生的运动的先驱，是英美现代诗坛上最具有影响力的诗豪，也是效果。
庞德曾将中国文学史中所译的汉诗
庞德（Ferdinand Verbiest）是17世纪比利时耶稣会传教士，也是一位著名的我国通。
他不仅对我国文学和诗词有着深厚的造诣，还因其在我国的传教活动而留下了深远的影响。
在他的影响下，不少我国古典文学名著和经典诗词被翻译传入欧洲，其中就包括了我国文学史中所译的汉诗。
我国文学史中所译的汉诗，作为我国古典文学的精髓之一，承载着丰富的文化内涵和时代的记忆。
它们通过丰富多彩的意象和深刻的思想表达，为人们展现了我国文学之美。
而庞德作为传播我国文学的使者，为西方读者带来了大量以汉诗为代表的我国文学作品，开启了东西方文学交流的新篇章。
我国文学史中所译的汉诗在庞德的传播下，为西方读者带来了对我国古典文学的全新理解。
庞德不仅致力于翻译我国古典文学作品，更深入地研究其背后的文化内涵和情感表达。
他的翻译作品不仅在语言上忠实于原作，更在意境和情感上进行了巧妙的转化，使得西方读者能够更加深入地感受到我国文学的魅力。
我国文学史中所译的汉诗在庞德的推动下，为中西文明交流搭建起了桥梁。
由于庞德在我国的传教活动，他深入了解了我国文学的瑰丽之处，不仅在欧洲传播了很多我国古典文学作品，也在我国推广了西方的文学作品，推动了中西文明的交流与互鉴。
这种跨文化的交流，不仅促进了文学艺术的传播，更丰富了世界文学的多元性和包容性。
再次，我国文学史中所译的汉诗在庞德的传颂下，为世界文学的发展贡献了东方的智慧。
我国古典文学作品以其深刻的思想和博大精深的艺术表达，成为了世界文学发展的瑰宝。
在庞德的推动下，这些我国文学作品得以在西方广泛传播，不仅丰富了西方文学的内涵，更为西方文学注入了东方的智慧和魅力。
庞德在传播我国文学史中所译的汉诗方面所做出的贡献不可忽视。
通过他的努力和影响，我国古典文学作品得以传播至欧洲，为中西文明的交流与互鉴搭建了桥梁，也为世界文学的发展带来了东方的智慧。
希望庞德这样的传播者能够得到更多的关注和尊重，以推动世界文学的多元发展和共同繁荣。
庞德曾将中国文学史中所译的汉诗
庞德曾将中国文学史中所译的汉诗
（最新版）
目录
1.庞德对汉诗的翻译工作
2.汉诗在英文世界中的影响
3.庞德对汉诗的评价
4.庞德对汉诗翻译的贡献
正文
庞德，美国著名诗人和翻译家，曾将中国文学史中所译的汉诗翻译成英文，为英文世界了解和欣赏中国古典诗歌做出了巨大贡献。
庞德在翻译汉诗的过程中，尊重原文的意境和韵律，力求在英文中传达出汉诗的独特魅力。
这些汉诗在英文世界中产生了广泛的影响，让更多的英文读者了解到了中国古典诗歌的美丽。
庞德对汉诗的翻译，不仅传播了中国文化，还对英文诗歌的发展产生了深远的影响。
庞德曾高度评价汉诗，认为其具有独特的艺术价值和深厚的文化内涵。
他将汉诗视为人类诗歌的瑰宝，对汉诗的翻译和传播充满了热情。
庞德对汉诗的翻译贡献不仅在于将大量的汉诗翻译成英文，还在于他对翻译过程的严谨态度和对翻译质量的严格要求。
他主张在翻译过程中，应尽可能地保持原文的意境和风格，避免过度的解读和篡改。
这种严谨的态度和对质量的追求，使得庞德翻译的汉诗在英文世界中具有较高的地位和影响力。
总的来说，庞德对汉诗的翻译工作，不仅丰富了英文世界的文化内涵，也为中国文化走向世界提供了重要的桥梁。
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庞德与中国诗歌
Pound and Chinese Classic Poems1.The coming of image and Chinese poems’ influence on Pound1.1The social and literature backgroundAt the end of the 19th century and the beginning of 20th century, the west world is changing dramatically. The United States becomes richer and richer, and the social revolution is going on. Old moral codes were breaking down. “Meanwhile, the loss of faith, which began noticeably with Darwin’s theories of evolution and was intensified by the development of modern science, continued with a greater intensity into this century. …In short, people found themselves living in a spiritual wasteland, as T. S. Eliot’s epochal poem suggests, where life was a meaningless and futile affair and man felt homeless, estranged and haunted by a sense of doom.” [1] “The traditional English poetics with its iambic pentameter, its verbosity, and extra-poetic padding can not meet the need of expressing the temper of the age.”[2] In order to change this situation, a small group of English and American poets, such as T. E. Hulme and Ezra pound, came together in the first years of this century to work out some new way of writing poetry. Imagists proposed, “something like an imagist manifesto …in 1912 in which Pound and Flint laid down three imagist poetic principles: (1) Direct treatment of “thing”, whether subjective or objective: (2) to use absolutely no word that does not contribute to the presentation; (3) as regarding rhythm, to compose in the sequence of the musical phrase, not in the sequence of a metronome.”[3]1.2Chinese poems’ influence on Pound“In 1913 he (Pound) became the literary executor of Ernest Fenollosa, the noted American Orientalist, and began his fruitful study of the Chinese language and ancient Chinese culture.”[4]In Fenollosa’s work, Pound found that “Chinese poem is, by virtue of the ideographic and pictographic nature of Chinese language, essentially imagistic poetry. The Chinese language is concrete and direct and metaphorical, and Chinese poem is noted for its virile laconism and austere pregnancy (which alsocharacterize imagist poetry). The history of Chinese writing conditioned Chinese literature to its conciseness and precision. To make fewer words do more was the cherished aim of literary training in ancient china. Since images need fewer connectives and convey more, it is only natural that they are built into the very texture of classical Chinese poetry. They either juxtapose with, or superimpose or melt into each other, and often form clusters of fused ideas impregnated with power and energy.”[5] It is no wonder that Ezra Pound found a “"New Greece in the culture of China", and a model to recreate，to emulate and to surpass. ·Inspired by the Classical poems Chinese Poetry，Pound found a way to break away from“the poetics of motional slither”, to mold a brand new kind of poetry，and to launch an American cultural revolution.”[6]One points should be pointed out is that some scholars over emphasized Chinese classical poems s’ influence on Pound and imagism. According to the study of Yuan Xin, the ideas of imagism of Pound has already set up before he started to study Chinese classical poems s and Chinese literature. “It is Pound’s principle of imagism that caused him to be interested in acquiring, understanding and translating Chinese classical poems s, and Chinese classical poems s enhanced his belief in imagism. ”[7] Imagist poems inherit some ideas from Chinese classical poetry, but “the imagist movement drew from a variety of poetic traditions. Greek, Provencal, and Japanese poem are among the many acknowledged sources of imagism and Pound’s poetry.”[8] It is at this point that Chinese classical poem can be compared with imagist poems.2. A comparative study of Image between Chinese classical poems s and pound’s poemsIn this section, the key idea of imagist movement—Image will be discussed to show the common ground and difference between Chinese classical poems s and pound’s poems2.1the common ground of Chinese classical poems s and pound’s poems2.1.1 the ideas about imageAs the name of the movement--Imagism shows, Image is the core of the movement. “T. E. Hulme said that the image must enable one “ to dwell and linger upon a point of excitement, to achieve the impossible and covert a point into a line.”[9] Pound defined an image as that which presents an intellectual and emotional complex in an instant of time, and later he extended this definition when he stated that an image was “a vortex or cluster of fused ideas”“endowed with energy.””[10] In Chinese classical poems s, Image also plays an important role for a very long time. The images in the Chinese classical poems express the “subtle momentary felling”and “a complex felling”[11]or “Image is pure sensatory. it is the concretion of felling.” Or “image is the impression of the things left in the mind.”[12] So it is easy to found that the west and east have something in common to some extent.2.1.2 The presentation of image.In this section, the method of presentation, like direct treatment, and superposition, used both in Chinese classical poems s and Pound’poems will be discussed.2.1.2.1 Direct treatmentThe first principle of Imagist, “with its emphasis on direct treatment, indicates a desire to make the expression resemble the “object” as closely as art can make it. By “direct,”Pound means no fuss, frill, or ornament.”[13] In his work “Osiris”, Pound explained this principle. He holds that modern poems should be “closer to the thi ng; beauty of the thing should replace rhetoric and frilled paper decoration.” The language used in the poems should be harder, nearer the bone, and like granite”. [14]That requires poets do not use ornament or emotion to decorate the thing but present the thing before the reader, just like present a sculpture before a visitor. Pound found that “Chinese poets have been content to set forth their matter without moralizing and without comment”[15] He wrote in his works: If you want some European to give a definition of something, the definition they gives will deviate from the simple thing and move to a remote place where nobody knows. If you ask him what red is, he will definite it as a kind of color. If you ask him what color is, He will tell you it is a kind of libration or refraction of light, or the separation of spectrum. While Chinese defines red in another way: “red: cherry, rust or flamingo.” That means Chinese treat things directly without any ornament.[16]2.1.2.2 Juxtaposition of imagesOne of the characteristics in classical poems Chinese poem is the juxtaposition used especially in ”jue ju"(quatrain) and”Lu shi'(eight- line verse). The following is one example: [17]月落乌啼霜满天江枫渔火对愁眠The moon goes down,Crows caw，frost takes the sky,Sleepy gloom weaves,River maples and fishing lanterns.In the original poem, the images---moon, Crows, frost, River maples, fishing lanterns---are presented one after another. All these images are juxtaposed. Pound named this kind of technique as “superposition” and he used it a lot in his writing. One does not have to search far for an apparent example of this sort in Pounds famous imagistic couplet, In a Station of the Metro which immediately shows similarity in technique to the above classical poems couplet.The apparition of these faces in the crowd;[18]Petals on a wet, black bough.The images “apparition of these faces” and “Petals on a wet, black bough” are juxtaposed too.The Superposition of images has created a special effect---cinematic montage effect. Autumn Thoughts by Ma Zhiyuan(1260-1341 A. D.) might serve to illustrate:天净沙·秋思[19]枯藤老树昏鸦,小桥流水人家,古道西风瘦马。
探析中国古典文化对伊兹拉？庞德诗歌创作和诗学思想的影响
探析中国古典文化对伊兹拉?庞德诗歌创作和诗学思想的影响摘要：伊兹拉?庞德，美国意象派扛鼎之人，深受中国古典文化影响。
本文主要从中国古诗、国画绘画技法两个方面来探析中国古典文化对庞德诗歌创作及诗学思想的影响。
关键词：庞德中国古典文化诗学思想影响一、引言伊兹拉?庞德是美国意象派诗歌的领路人，其诗学思想深受中国古典文化的影响。
中国古诗让庞德找到了意象主义诗歌的表现手法；中国国画让他参悟到诗歌意象中色与形、情与景交融的美学思想。
二、中国古典诗歌对庞德诗歌创作及诗学思想的影响美国诗人W?S?默温认为：“不考虑中国诗的影响，美国诗就不可想象。
”庞德自己也曾说过：“中国是基本的，而日本是一种独特的兴趣。
”由此可见，中国古诗对美国意象主义诗歌现代化进程的影响不可低估。
1.中国古诗意象理论意象是中国古诗的灵魂，就是寓“意”之“象”，把主观的“意”赋予客观的“象”，从而达到借物抒情，睹物思人的效果。
庞德认为“意象是瞬间内理智与情感的复合体，是某一瞬间作者描绘的事物在读者心中的影像，是表达瞬间印象最有效的手段。
”诗人应运用鲜明、准确、含蓄的意象来展现事物，并将感情融入诗行之中。
这与中国古诗的“意象理论”不谋而合。
他的意象主义代表作《在地铁站》就是对中国古诗意象理解和吸收的最好例证。
这首诗歌中，只有“人脸”与“花瓣”这两个最直接的意象，这与白居易《长恨歌》中的“玉容寂寞泪阑干，梨花一枝春带雨。
”有异曲同工之妙。
而庞德也承认，“这首诗歌的创作灵感来源于中国古诗。
”2.中国古诗意象叠加中国古代诗人喜欢运用形象生动的意象来构造一个含蓄的意境让人回味无穷。
如，王维在《鸟鸣涧》中只用了二十个汉字就描绘出了花、山、月、鸟、溪五个意象。
这些意象不仅描绘出了迷人的春山景色，而且还烘托出盛唐时代和平安定的社会气氛。
中国古诗的这种简朴语言风格和意象堆砌意境的理论庞德极为欣赏，他直接拿来对美国诗歌进行改革。
《在地铁站》中第一句是本体，第二句是喻体，本体、喻体两个意象构成了意象叠加。
庞德与中国古诗
湿漉漉的黑色枝条上的许多花瓣。（杜运燮译）
【参】玉容寂寞泪阑干，梨花一支春带雨。(白居易)
Canto XLIX (诗章第四十九)
Rain; empty river; a voyage,
Fire from frozen cloud, heavy rain in the twilight
In clear autumn, grass, trees, yellow.
玉阶怨
李白
玉阶生白露，夜久侵罗袜。
却下水晶帘，玲珑望秋月。
The Jewel Stairs Grievance The jewelled steps are already quite white with dew, It is so late that the dews soaks my gauze stockings, And I let down the crystal curtain And watch the moon through the clear autumn.
劝君更尽一杯酒，西出阳关无故人。
Pound’s Translation
Light rain is
on the light dust. The willows of
the inn-yard
Will be going greener and greener.
But you, sir, had better take wine
翠竹如诉如泣。
Autumn moon; hills rise about lakes Against sunset Evening is like a curtain of cloud,
A blurr above ripples; and through it
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美国现代诗人庞德与中国古代诗歌摘要：埃兹拉·庞德（ezra pound）是美国著名的现代派诗人。
由他创立的“意象派诗歌”开辟了英美现代诗歌的先河。
时值本世纪初，人们对诗坛上从维多利亚时期以来的伤感情调和无病呻吟普遍感到不满。
正是在这种情况下，庞德以其独特清新的诗歌风格引起了诗坛的广泛瞩目。
中国古典文学对庞德的影响是巨大的，并且始终贯穿于他的诗歌创作的始终。
关键词：意象；庞德；中国文化；影响中图分类号：i222 文献标识码：ａ文章编号：1005-5312（2012）35-0003-02美国现代诗歌始自埃兹拉·庞德，但这位以勇于创新而闻名遐迩的现代诗人却与世界上历史最悠久的文化传统之一——中国古代诗歌结下了不解之缘。
1912年他在伦敦率先提出了意象主义这个诗歌概念，兴起了意象主义运动。
1914年他又编辑了《意象派诗集》，扩大了意象主义的影响。
此后，他的创作一直走着一条崭新的道路——为现代英语诗歌开辟的一条崭新的道路。
庞德曾把“意象”定义为“一刹那间思想和感情的复合体”。
据他自述他这种创作方法正式受到了中国古代诗歌的影响。
在他的一生中，中国古典文学始终对他的创作起着重大的影响。
庞德最早接触到中国文学是在本世纪初，当时瞿理斯（herbert giles）的《中国文学史》（a history of chinese literature）就引起了他很大兴趣，他对书中所录的刘彻的《落叶哀蝉曲》大为赞赏，不久就出现在他的诗集中。
对此，可以加以比较：刘彻：罗袂兮无声，玉樨兮尘生。
/虚房冷而寂寞，落叶依于重肩。
/望彼美之女兮安得，感余心之未宁。
庞德：绸裙的，瑟再不复闻，灰尘飘落在宫苑里，听不到脚步声，乱叶飞旋着，静静地堆积，她，我心中的欢乐，睡在下面。
一片潮湿的树叶粘在门槛上。
the rusting of silk is discontinued/ dust drifts over the courtyard/ there is no sound of footfall，and the leaves，/ scurry into heaps and lie still；/ and she the rejoicer of the heart is beneath’em，/ a wet leaf that clings to the thresold.庞德改作的前两句是对原文的忠实翻译。
而从第三句开始，他则发挥原诗第四句中的落叶这个意象，使其余各句都围绕这个意象，并以此作为诗的结尾，这是他对这首诗的理解。
庞德的译作是无韵自由体，这一点很接近中国古乐府诗。
用庞德的话说是为了“全力避免抽象性”，让读者由此去体味诗人的情感，而不是直接把诗人的内心感觉书写出来。
让读者以联想的方式直接参与诗歌的创作，这种手法与中国传统诗论在本质上是暗合的。
中国古典诗歌历来反对直抒胸臆，讲究含蓄、韵味，此时庞德已从中悟出了这一点，并适用于实际创作中。
如果我们把刘彻最后一句和《地铁站台》中“潮湿黝黑树枝上的花瓣”加以对照，则不难看出其中意象的相似之处。
庞德的自述中并未提及《落叶哀蝉曲》对他创作《地铁站台》的影响，但是在他冥思终日之后而茅塞顿开，能够抓住协和广场地铁站台那一刹那间意象的，似乎就是汉武帝诗中潮湿的落叶这个形象。
当然庞德并未照搬这一形象，而是赋之以新意，以象征娇美脸庞的花瓣来取代原作中象征亡人的落叶。
在诗歌理论上，庞德创立的意象派与中国古典诗论有着惊人的相似。
虽然我们不能因此肯定庞德受到过中国诗论的影响，但他受中国诗歌，尤其是李白诗歌的影响是毫无疑问的，而李白诗歌大体代表了中国古典浪漫主义诗歌创作的高峰。
诗人完全可以凭自己的直觉，即“心有灵犀一点通”来悟出中国诗歌精髓之所在。
事实上，1915年庞德创作的《神州集》（cathay）一直被西方文学界看成是庞德的一组基于中国素材的英语诗歌，而不仅仅是翻译。
诗人在翻译过程中有自己的创造。
这一点在他翻译李白的《古风第八》中表现得尤为突出。
李白《古风第八》：香风引赵舞，清管随齐讴。
/七十紫鸳鸯，双双戏庭幽。
/ 行乐争昼夜，自言度千秋。
/功成身不退，自古多愆尤。
/ 黄犬空叹息，绿珠成衅仇。
/何如鸱夷子，散发棹扁舟。
庞德的译文回翻成汉语是：春又归桥头，桃李开千树。
/朝开红胜火，暮落逐水流。
/朱彦随水逝，一逝再难留。
/今人非昔人，下场亦堪忧。
/有香风舞女，有怨笛清歌，/有七十对男女共舞，/有庭院内疯狂的角逐。
/整日整夜都付于享乐，/他们以为这享乐能持续一千个秋天，/一群黄狗狂吠着，/对他们发出警告。
/对他们来说绿珠姑娘只引起仇恨，/他们中有一人独携情妇离去，/他驾起轻舟，/身旁的姑娘长发披肩。
显然，庞德在这首诗中创造的因素很多。
因为这首诗典故很多，不能直译，否则会引起读者的厌倦。
因此，庞德按自己的理解重新组织了全诗。
这就是庞德《神州集》获得成功的原因。
《神州集》出版以后，带动了当时英美文学界对中国诗歌的翻译。
把中国文化介绍给了广大的西方读者。
庞德创造了一个文学形式“意象迭加”，将各种特殊意象并置。
就像休姆提到，两个视觉意象形成一个可称之为视觉和弦的东西，联合起来暗示一个不同于两者的新意象。
中国诗中这种和弦方式十分普遍。
庞德从1917年开始发表长诗《诗章》（cantos），其创作就是深受中国古代和弦诗文的影响。
诗人先后用了几十年时间写成109首完整的诗章和8首片断，其中涉及中国和弦意象的内容比比皆是。
第53至第61首被称为“中国诗章”，把中国古代史原原本本讲述了一番。
《诗章》的许多篇章还体现了中国诗歌“诗中有画，画中有诗”的传统思想。
这些诗除了具有意象派诗歌的特点外，其内容，尤其是清雅淡远的意境具有鲜明的中国特色。
诗章第49就是庞德以一本题为“潇湘八景”的中国画册为素材写成的：rain，empty river， a voyage，/ fire from frozen cloud，heavy rain in the twilight/ under thecabin roof was one lantern/ the reads are heavy，bent，/ and the bamboos speak as if weeping，/……（雨、枯河、旅人。
乌云、闪电、滂沱大雨。
孤灯悬舟，兼葭苍苍，似在泣诉。
……）庞德的这首诗是我们想起了元代著名词人马致远的小令《天净沙·秋思》：枯藤老树昏鸦，小桥流水人家。
古道西风瘦马，夕阳西下，断肠人在天涯。
可以看出，二者确有异曲同工之妙。
庞德的这首诗里，鱼、江、人、天、灯等意象构成了一幅惨淡而凝重的画面。
这种意境与中国古典诗歌如此相似的“汉风诗”是意象派诗歌的一大特点，也是庞德及其他意象派诗人对现代英语诗歌的一个重大的贡献和发展。
另外，庞德则对中国古时作了字面上的翻译，即未改变原诗的词序，也未改变其语法结构。
例如饶时的《击壤歌》，原文是：“日出而作，日入而息。
凿井而饮，耕田而食。
帝力于我何有哉？”庞德的译文是：“日出，工作；日落，休息；掘井而饮水；耕田，吃粮；帝王的力量，对我们它又算得什么？”由于庞德不懂中文，他对中国文化的理解通常要借助于日本汉学家的诠释，于是他对中国诗歌就难免产生误解，对中国诗歌的翻译有时不能重视原作。
例如他的《河商妻子的来信》，取材于李白的《长干行》。
庞德是根据美国汉学家厄内斯特·凡诺罗萨的笔记译成此诗的。
而凡诺罗萨本人也是通过几位日本学者的解释来了解这个作品的。
受凡诺罗萨这一知识来源的局限，庞德把诗中的名字一律按日本人对汉字的读法用拉丁字母拼出。
这不仅包括chokan （长干里），ku-to-en（滟预堆）和kang（瞿塘）等，连李白的名字也按日本人的叫法，拼成rihaku。
其次，庞德把“郎骑竹马来”译成“你踩着竹制的高跷走过来，装作骑马的样子”。
其三，“常存抱柱信”这个典故则漏译。
据传说古代有个名叫尾生的人，和一女子约定在桥下相会，女子尚未到来，河水却突然暴涨，尾生坚守信约，终不肯离开此桥，抱着桥柱，被水淹死。
尽管庞德的诗作中不乏其对中国古诗误解和误译的实例。
但从他1915年出版英译中国古诗《神州集》到他晚年完成《诗经》和《大学》等儒家经典的翻译，庞德的不懈努力不仅美国诗坛对中国诗歌的浓厚兴趣，而且把中国文化推广到了西方。
从庞德的《诗章》看，对它影响最大的应该是“中庸”和“正名”这两个儒家的基本思想。
庞德把中庸之道称为：“我们精神的规范”，表明了他对当时西方社会秩序的混乱和道德沦丧的强烈不满，希望以中庸之道来唤醒人们的理智与忍让，建立起一种新秩序。
在《诗章》中，庞德多次赞颂了尧舜禹的功德，不对中国的历史、哲学、文化有着很深的造诣，写出这样的诗句是不可想象的。
1950年出版的《古典大全：孔子诠释》（classis anthology：defined by confucius）即《诗经》是庞德研究中国文学的最高成就，这本书收录了全部305首诗歌。
对这本书的评价jeanne knoerle说：“事实上，就我们所知，庞德的《诗经》译文已成为纯粹的抒情诗，没有语言性的分析，诗集的译文也好坏参半。
”这是对庞德的中国风味诗歌的中肯的评价。
美国现代诗歌始于庞德。
他是个天才的诗人，他的天才因中华文化的照耀而格外璀璨夺目。
虽然他晚年也批评了由他本人创立的“意象派”，但他始终尊敬和崇拜中国文化，中国文化对他的影响贯穿了他的一生，并始终起着主导作用。
开风气之先的庞德及其意象派并没有在曲终人散之后即成了明日黄花，它的价值却始终存在。
虽然有人对庞德的半是翻译，办事创作的拆字翻译法不甚苟同；虽然中英文在语法和词性上有很大不同，语法词性严格，富含逻辑推理的英文很难打到中国古典诗词的神韵，但意象派诗人很努力的呈现意象，融情于景，无论是在诗歌创作还是在对中国古典诗词的翻译反面都取得了很大的成就，像一缕清新的春风为20世纪的英美诗坛带来了一片生机。
参考文献：[1]understanding poetry.[2]cleanth brooks，robert penn warren.《理解诗歌》（第四版）.外语教学与研究出版社.[3]preminger，alex. princeton encyclopedia of poetry and poetics. princeton，princeton university press，1974.。