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Transnational Imagination of China in Ezra Pound's and William Carlos

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Transnational Imagination of China in Ezra Pound's and William Carlos English Language, Literature & Culture 2021; 6(1): 7-13 http://www.sciencepublishinggroup.com/j/ellc doi: 10.11648/j.ellc.20210601.12 ISSN: 2575-2367 (Print); ISSN: 2575-2413 (Online) Transnational Imagination of China in Ezra Pound’s and William Carlos Williams’ Poetics Tang Wei 1, 2 1School of Foreign Languages, Nanjing University, Nanjing, China 2School of Foreign Languages, Nanchang University, Nanchang, China Email address: To cite this article: Tang Wei. Transnational Imagination of China in Ezra Pound’s and William Carlos Williams’ Poetics. English Language, Literature & Culture. Vol. 6, No. 1, 2021, pp. 7-13. doi: 10.11648/j.ellc.20210601.12 Received : February 9, 2021; Accepted : March 2, 2021; Published : March 10, 2021 Abstract: As a modernist movement in poetry emphasizing the clarity of expression through the use of precise visual images, Imagism drew inspiration from the poetic forms of different countries, among which an influential one was Chinese poetry. As the pioneer of the movement, Ezra Pound is noted for his profound interest in Chinese ideograph and skillful appropriation of Chinese poetry in his own works which inspire and influence a host of American poets of the Modern period including William Carlos Williams. Though Pound and Williams were both labelled as imagist poets, they departed from each other in their later poetics. Researchers have long noticed this departure, but paid scant attention to the influence of Chinese poetry on it. This paper is intended to conduct a study on the influence of Pound’s and Williams’ transnational imagination of China on their poetics which leads to two opposing directions in dealing with Chinese poetry and culture in modern American poetry. It tries to point out that, while Pound’s appropriation of classical Chinese poetry and traditional Confucian culture is in the purpose of renovating post-Victorian poetic style and attaining a cosmopolitan poetics, Williams’ appropriation of Chinese poetry focuses more on refining stylistic techniques and enhancing an objectivist poetics to better accommodate the local American imageries and colloquial American English. Keywords: Ezra Pound, William Carlos Williams, Poetics, Classical Chinese Poetry, Chinese Culture never succeeded in fulfilling it. 1. Introduction Many critics have noticed this departure between Pound and In Ezra Pound Among the Poet , Thomas Parkinson asserts Williams. For example, Chinese critic Wu Xinyu applied Harold the relations between Pound and Williams have a rich Bloom’s theory of “anxiety of influence” to argue that Williams’ complexity that gives them symbolic importance in the history objectivism “corrects” and “rebels” Pound’s imagism to counter of American poetry. He also exclaims that Pound and the powerful, oppressive and miserable patriarchal force from Williams were “among our great liberators, and they are Pound [2]. Fu Hao, in another article, argues that Pound’s and among the great contrasts in the American legacy, equivalent Elliot’s poetry couldn’t get rid of the influence of traditional to Whitman and James in their achievements and in the charge European poetry and are conservative and backward-looking, that their testaments leave to their godchildren” [1] . Though while Williams’ poetry focuses on American locality and seeks a Williams was greatly inspired by Pound to compose imagist new poetic style for colloquial American English, which is poetry in the early stage of his career, he later departed from innovative and forward-looking [3]. Pound’s imagism to develop “objectivism” as a new poetics. While both Pound and Williams evinced profound interest Williams saw his poetic project as a distinctly American one. in classical Chinese poetry and traditional Chinese culture, He sought to renew language through the fresh, raw idiom that they also displayed a lot of difference in ways of grew out of America’s cultural and social heterogeneity, at the understanding and borrowing from China. Chinese scholar same time freeing it from what he saw as the worn-out Qian Zhaoming pointed out that “there is a difference between language of British and European culture which Williams his and Pound’s sense of China, and there is a difference thought both Elliot and Pound purported to transcend but between their ways of borrowing” [4]. However, Professor 8 Tang Wei: Transnational Imagination of China in Ezra Pound’s and William Carlos Williams’ Poetics Qian’s book focuses more on the similarity and significance across to his contemporaries, disregarding their ‘rhymes’ and between Pound’s and Williams’ interaction with China. In ‘tones’ while following their verbal constructions and methods light of this, this paper is intended to conduct a research on the of presentation” [6]. connection of their different imagination of China to their As Pound later departed with Amy Lowell on Imagism and distinctive poetics. It tries to point out that while Pound’s pioneered, with other artists, another distinctive school of appropriation of classical Chinese poetry and traditional modern poetry – Vorticism, his Cathay could also be seen as Confucian culture is in the purpose of renovating coinciding with his move toward Vorticism. In Cathay , his post-Victorian poetic style and attaining a cosmopolitan choice and collection from nearly 150 poems based on poetics, Williams’ appropriation of China focuses more on Fenollosa’s manuscripts were accordingly made under the refining stylistic techniques and enhancing an objectivist influence of his Vorticist notion of the Image. He found a poetics to better accommodate the local American imageries model that at once mirrored and challenged his developing and colloquial American English. poetics in Li Po and other Chinese poets. In his 1918 essay on “Chinese Poetry”, he made it clear that he translated Chinese poetry precisely “because Chinese poetry has certain qualities 2. Pound’s Imagination of China and His of vivid presentation; and because certain Chinese poets have Cosmopolitan Poetics been content to set forth their matter without moralizing and without comment” [6]. In 1915, Pound once wrote on Poetry , a famous magazine Chinese scholar Tao Naikan asserts in his book Pound and of poetry founded by the poet and his friend Harriet Monroe, Chinese Culture , “If we are to see Pound’s poetry as an “Liu Ch’e, Chu Yuan, Chia I, and the great vers libre writers integral entity and use one word to generalize the most before the Petrarchan age of Li Po, are a treasury to which the conspicuous feature of it, I suggest we could probably use the next century may look for as great a stimulus as the word of ‘cosmopolitanism’ 1” [7]. Tao regards that Pound’s renaissance had from the Greeks” [5]. In another word, Pound “cosmopolitan” poetics highly exemplifies the spirit of evinced great interest in classical Chinese poetry and saw Goethe’s “world literature” in his interdisciplinary Chinese poetry as a refreshing fountain of inspiration for incorporation of different writing styles and languages from modern English poetry. different cultures. It is apparent that before Pound resorted to While Pound received no formal instruction in the Chinese the appropriation of Chinese poetry in his own poetry writing language, his interest in Chinese poetry would have never he had aspired to attain a cosmopolitan poetics via borrowing been the same if he hadn’t gained possession of the sinologist from different literary styles in different countries. For Ernest Fenollosa’s manuscripts on Chinese and Japanese instance, “In his essay ‘ Vorticism ’, Pound acknowledged for literature in 1913. Based on Fenollosa’s notes on translation the first time in his career his indebtedness to Japanese poetics and understanding of classical Chinese poetry, Pound selected in general and the art of haiku in particular” [8]. It was also in to retranslate some of the Chinese poems and published under this essay that his famous haiku-like poem “In a Station of the the title of Cathay in 1915. However, Pound’s interest in the Metro” appeared. According to Nadel, “Imagism evolved as a translation of Chinese poetry was not incidentally evinced but reaction against abstraction in favor of precision, replacing closely related to his experiment with Imagism as a rebel Victorian generalities with the clarity found in Japanese haiku against and a renovation of the banal post-Victorian poetic and ancient Greek lyrics” [9]. Together with Pound’s intended style. In the year around 1908, some English and American appropriation of Japanese and Greek literary resources, the poets began to start a movement in the purpose of reforming encounter with and appropriation of Chinese poetry marked a and correcting the banal, artificial manner of the significant step in Pound’s development of a cosmopolitan romantic-style poetry during the early twentieth century by its poetics. As Michael Alexander remarks, “He supplied the first emphasis on concrete imagery and concise language and its truly poetic translations of classical Chinese poetry. His advocacy of free verse. The movement was later labeled as selective revival of Catullus and Propertius showed how the Imagist Movement which marked the commencement of less public poets of our first metropolitan, imperial and corrupt American modernist poetry. As a pioneer of imagist Western civilization had resisted ‘current exacerbations’. movement, Ezra Pound insisted that poetry require a precise These translations and adaptations were the fruit of a and economic use of language and
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