摘要

二十世纪初期，中国古典诗歌的对外传播催生了庞德领导的新诗运动。庞德长期热衷于中国古典哲学和诗歌的研究，他所著的《华夏集》收录了中国十九首古诗，采用古为今用、中为西用的原则表达了欧美广大人民的反战情绪与离愁别恨。其简洁、明晰、凝练的文法被称之为“20世纪诗歌的杰出范本”并积极地推动了英美现代诗歌的发展。
本文旨在通过分析庞德所译的三首汉诗，探究中国古典文化对庞德诗学观点形成的影响,以及在此基础上庞德不受原诗字面意义的约束进行诗歌再创作的动因，重新审视庞德的译作是否忠实与等效的问题。从而纠正对庞德译作观的误解，为中西诗歌研究提供借鉴，帮助不同文化背景的读者更有效的理解诗歌翻译及其实践对文学创作的启迪作用。

关键词：庞德；华夏集；意象主义；意象派；诗歌

Abstract

In the early 20th century, the spread of Chinese classical poetry triggered a new poem movement in Pound’s leadership. For quite a long time Ezra Pound devoted himself to the study of Chinese classical poetry and philosophy, and the translating collection -- Cathay of 19 classical Chinese poems, which boldly borrowed the essence of ancient oriental literature to express western people’s objection to the war. Its concise, clear, refined style of writing was called "the outstanding poetic model of the 20th century" and actively promoted the development of modern British and American poetry.
This thesis aims to find the influence of Chinese conventions upon the formation of Pound’s conceptions through the analysis of three poems translated by Pound, to explore how Pound drew the motivation from re-creating poems out of the constraint of the original words, and to re-examine whether the translated poems are equivalent or faithful. Thus it can help to correct the misunderstanding of Pound’s perspectives of translation, and provide a reference to eastern and western poetry study, a more effective overview of poetry translation and also enlightenment in cultural exchange for readers of different cultural background.

Key words :  Pound; Cathay; Imagism; Imagist; Poetry

Introduction
Ezra Pound(1885-1972),known as one of the most important poets and critics in the first half of the 20th century, is the leader of imagism who influenced the later generations of both British and American writers for more than fifty years. The impact he brought to the field of poetry later has led to the imagist movement. His enriching regional experience and various involvements in the communication with cultural schools escalated his understanding and laid solid foundation for his advanced ideas. The acquaintance with Chinese classical poetry made him fit in the oriental elements very well. Pound held that the Chinese character is a stylized picture of the meaning it conveys. His core theory can be concluded into two parts: condensation and precision.