Introduction
The poems of Cathay contribute positively to literary and cultural
interaction between the Chinese audiences and the English audiences. By
and large, Cathay ought to be viewed as a recreation translation from the
Chinese classic poetry. In terms of its relations to the Chinese classic
poetry and Fenollosa's manuscripts, the intermediary translations base on,
not all source texts are selected and not all qualities have been transferred
in Cathay, including loss of local taste, of rigid rhythm and form of the
originals. On the contrary, Cathay presents us a new mask: colloquial in
language, graphic space in versifying, and flexible in its movement.
According to Pound's strategies, the creative translation applied in
Chinese poetry translation would produce a verse that reads like a "good"
Page 1 of 7 A ―Mad‖ Poet with High Literary Talents Ezra Weston Loomis Pound (1885-1972), a leading spokesman of the "Imagist Movement," was one of the most important poets in his time. He exerted a profound influence on the generation of the British and American writers who launched modern literature after the First World War, and decisively affected the course of the twentieth-century American literature. Working in London in the early 20th century as foreign editor of several American literary magazines, Pound helped to discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost, and Ernest Hemingway. Pound was responsible for the publication in 1915 of Eliot's "The Love Song of J. Alfred Prufrock", and for the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1925: "He defends [his friends] when they are attacked, he gets them into magazines and out of jail. He loans them money. ... He writes articles about them. He introduces them to wealthy women. He gets publishers to take their books. He sits up all night with them when they claim to be dying ... he advances them hospital expenses and dissuades them from suicide."
Ezra pound
Ezra Pound (1885-1972) is the most influential poets in the twenty-first
century. Being regarded as the father of modern American poetry, Pound
is a passionate promoter of Imagism—a modern literary movements
strongly against the traditional poetry with its iambic pentameter, its
verbosity and extra-poetic padding, and expresses the modern spirit, the
sense of fragmentization and dislocation after world war, using economic
expression and a dominant of image.
Pound’s famous works include Cathy, a translation of classic Chinese
poetry; Cantons which in time grow into a sprawling colossus of a
modern epic; and In a Station of Metro the representative piece of
imagism poetry.
Ideas about literature:
(1) Pound believes that the artist is normally and culturally the arbiter and
the “savior” of the race, he took it upon himself to purify the arts and
Ezra Pound(艾兹拉·庞德 1885-1972)
艾兹拉·庞德(Ezra Pound)
1885年出生于美国爱达荷州海莱市。
21岁时获宾夕法尼亚大学文学硕士学位。
1909年前往伦敦，与当时在文坛上颇为活跃的休姆等人结识，庞德早期从事意象派的写作便是受这些人的影响。
1913年，弗·福林特发表著名的意象派三点纲领，在两年后的《意象派诗选》的序言中，庞德又加了三条新原则：提倡用准确的日常语言，创造新的韵律以及自由选材。这些主张对现代自由体诗的发展起了重大的作用，而也为庞德之后改写现代派诗作了准备。
1917年，庞德参与到温德汉·路易斯创办的《风暴》杂志中，以表现力量为目的，宣扬应该改革意象派创作上的弊陋，要求那些善于写作平淡和伤感性诗歌的诗人用有力的、有运动感的意象和节奏来创作。由于意见的相违，渐渐的庞德脱离出意象派.
1917年之后他开始了现代派的写作。除此之外，庞德还是一个热衷于介绍中国古典诗歌和哲学的翻译家，经他改编并翻译了《神州行》、《诗经》等儒家经典。
代表作品:
《神州集》（1915年）
《休·赛尔温·莫伯利》（1920年）
《诗章》（1916-1968年）
The apparition of these faces in the crowd;
Petals, on a wet, black bough.
诸种译文：
1.在地铁站
人潮中这些面容的忽现；
湿巴巴的黑树丫上的花瓣。（罗池）
2．地下车站
人群中幻影般浮现的脸
潮湿的，黑色树枝上的花瓣（钟鲲）
3．地铁车站
人群中这些脸庞的幻影；
潮湿又黑的树枝上的花瓣.（成婴）
4．在伦敦的地铁车站里
这些脸的幻影在人群中，
一条潮湿的、黑色枝干上的点点花瓣。（李德武）
5．地铁车站
人群中这些面庞的闪现；
湿漉的黑树干上的花瓣。（赵毅衡）
6．在地铁车站
这几张脸在人群中幻景般闪现；
