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New Poetry and Old Cathay : Translational Sinography in the Early Twentieth-Century English Literary World

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New Poetry and Old Cathay : Translational Sinography in the Early Twentieth-Century English Literary World Lingnan University Digital Commons @ Lingnan University Lingnan Theses and Dissertations Theses and Dissertations 11-2-2020 New poetry and old Cathay : translational sinography in the early twentieth-century English literary world Qingyang LIN Follow this and additional works at: https://commons.ln.edu.hk/otd Part of the English Language and Literature Commons, and the Poetry Commons Recommended Citation Lin, Q. (2020). New poetry and old Cathay: Translational sinography in the early twentieth-century English literary world (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from https://commons.ln.edu.hk/otd/89/ This Thesis is brought to you for free and open access by the Theses and Dissertations at Digital Commons @ Lingnan University. It has been accepted for inclusion in Lingnan Theses and Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. NEW POETRY AND OLD CATHAY: TRANSLATIONAL SINOGRAPHY IN THE EARLY TWENTIETH-CENTURY ENGLISH LITERARY WORLD LIN QINGYANG PHD LINGNAN UNIVERSITY 2020 NEW POETRY AND OLD CATHAY: TRANSLATIONAL SINOGRAPHY IN THE EARLY TWENTIETH-CENTURY ENGLISH LITERARY WORLD by LIN Qingyang 林青楊 A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Translation Lingnan University 2020 ABSTRACT New Poetry and Old Cathay: Translational Sinography in the Early Twentieth-Century English Literary World by LIN Qingyang Doctor of Philosophy This thesis looks into the culture of reading, translating, and publishing classical Chinese poetry in the English literary world between the 1890s and the 1920s. It explores the mediating and constructive roles of translation (broadly construed) in the formation of knowledge about Chinese literature by focusing on an unconventional segment of the field – poet-translators who integrate Chinese poetry with the pursuit of literary modernism, whose avid experimentalism and lack of sinological credentials run counter to the fidelity principle of translation. I try to foreground the dynamism of this literary contact zone by correlating three dimensions of networks: the transtextual modes in which translation and rewriting are performed – sinological translation, indirect (re)translation, collaborative translation, literary chinoiserie, aesthetic translation, imitative translation, and pseudotranslation; discursive networks in the intertextual field; and sociological networks of agents and institutions in the field of cultural production – publishers, reviewers, editors, patrons, professional societies, and literary circles. This triangulation approach accentuates the complexities of transcultural interchange and serves the larger goal of transcending the binarism of East/West and the sometimes reductive analytic model of text-versus-context. Examining peripheral modes of translation like indirect (re)translation, imitative translation, and pseudotranslation, I hope to broaden the historical landscape of translating Chinese literature and query normative categorizations in our critical vocabulary, and furthermore contribute to theoretical enquiries about the “translational” by probing into liminal cases. I consider translations as intertexts in discursive formations. Special attention is given to how intertexts from the archive of writing China in the West and from contemporaneous discursive formations are reconfigured in literary modernism’s transcultural imaginary. More specifically, I conceptualise translation and other kindred modes of rewriting as “sinographies” – forms of writing and discursive strategies that articulate the diverse meanings of China. For the poet-translators and sinographers discussed in this thesis, reading and translating China become an extended thought experiment through which larger cultural questions are thought over; they engage with the hypothetical Chinese poem in multiple, creative ways, inscribing different layers of meaning on the Chinese palimpsest. Their practices evince a heuristics of Chineseness, whereby knowledge about the self and the other becomes mutually constitutive and translation manifests its transformative power. Keywords: classical Chinese poetry, Chinese literature, poet-translators, literary modernism, translational sinography DECLARATION I declare that this is an original work based primarily on my own research, and I warrant that all citations of previous research, published or unpublished, have been duly acknowledged. _______________________________ (Lin Qingyang) 25th October, 2020 CERTIFICATE OF APPROVAL OF THESIS NEW POETRY AND OLD CATHAY: TRANSLATIONAL SINOGRAPHY IN THE EARLY TWENTIETH-CENTURY ENGLISH LITERARY WORLD by LIN Qingyang Doctor of Philosophy Panel of Examiners: (Chairman) (Prof L/U Chi Pang) JlO,J� (ExternalMember) (Dr. NEATHER Robert) (InternalMember) u Rachel) (InternalMember) (Prof. CHAN Tak Hung Leo) Chief Supervisor: Prof. CHAN Tak Hung Leo Co-supervisor Prof. SUN Yifeng Approved for the Senate (Prof. MOK Ka Ho Joshua) Chairman, Postgraduate Studies Committee Date CONTENTS ACKNOWLEDGEMENTS ............................................................................. iii 1. INTRODUCTION: FROM SINGULAR LISTLESSNESS TO A SPRITUAL INVASION FROM THE EAST ....................................................................................... 1 1.1 Sinography, Transtextuality, and the Networks of Transcultural Imaginary ................. 3 1.2 Chinese Literature in the Sinological Field of Translation ............................................. 10 A. Chinese Literature in the Emergent Sinological Discourse .................... 12 B. Chinese Poetry in the Empire of Learning: English Retranslations of the Shijing, 1870s-1890s ........................................................................ 25 2. CHINESE POETRY AS AN AESTHETIC IDEAL IN THE WORKS OF EDWARDIAN POET-TRANSLATORS AND SINOGRAPHERS .............................................. 47 2.1 A Sentimental Journey ............................................................................................................ 52 2.2 The Formation of an Aesthetic Ideal .................................................................................... 59 A. “The Poet’s Vision”: The Transient Encounter and the Eager Search .......... 63 B. “The Clear Dawn of a Golden Past” ................................................ 68 C. Sweet Melancholy ..................................................................... 71 2.3 Inventing Chinese Aesthetic Alterity: The Hypothetical Chinese Poem and the Translational Intertexts .................................................................................................................. 74 A. Judith Gautier, Le livre de jade (1867): The Discursive Components of Mid-Nineteenth-Century French Literary Chinoiserie ............................... 81 B. Lytton Strachey, “An Anthology” (1908): The Strange Appeal of “the Hinting Verses of Chinese Poets” .................................................................... 85 C. Laurence Binyon, Painting in the Far East (1908) and The Flight of the Dragon (1911): Chinese Philosophy and the “European Disillusion” ......................... 93 2.4 Across the Civilizational Divide: Border-Crossing, Self-Othering, and the Cosmopolitan Vision ....................................................................................................................... 97 3. CATHAY IN FRAGMENTS: EARLY TWENTIETH-CENTURY CHINOISERIE POEMS AND IMITATIVE SINOGRAPHY .................................................. 106 3.1 Chinoiserie Poems in Modernist Little Magazines ........................................................ 112 A. From Trinkets to Sublimities: The Discourse of Literary Chinoiserie ...... 116 B. Reconfiguring Discursive Components: Examples from Early Twentieth-Century Little Magazines ................................................... 124 3.2 Literary Chinoiserie, Transcultural Imitation, and Pseudotranslation: Aspects of Transtextuality ................................................................................................................................ 131 A. Imitation, Translation, and the “Translation-Imitation Spectrum” ........... 132 B. Literary Chinoiserie as Transcultural Imitation ................................. 143 C. The Pseudotranslational ............................................................ 147 i 4. MAKING IT OLD, MAKING IT NEW, MAKING IT “CHINESE”: EZRA POUND’S IMITATIVE TRANSLATION ....................................................................... 169 4.1 Chinese Poetry as Imagist Haiku: The Visual-Verbal Synthesis and Aesthetic Translation .......................................................................................................................................... 172 4.2 “Cathay, Translations by Ezra Pound” .................................................................................... 197 4.3 Translucencies, Luminous Detail, Palimpsestic Translation ........................................... 220 5. CONCLUSION: TOWARDS A CULTURAL HISTORY OF TRANSLATIONAL SINOGRAPHY ......................................................................................... 238 REFERENCES ........................................................................................... 246 ii ACKNOWLEDGEMENTS The course of this thesis
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