Abstract: Ezra Pound’s Cathay was translated from Ernest Fenollosa’s notes, which, along with the relevant Chinese texts, were transcribed and served as the foundation for Pound’s translations. However, there are significant differences between the two translators’ approaches in terms of translation approach, formal techniques, and aesthetic orientation. In translating Chinese poetry, Fenollosa emphasized a faithful cultural or linguistic rendering, aiming to foster affinity with East Asian culture. Yet, due to the inherent gap between Chinese and Western languages and cultures, his method carried intrinsic limitations. Pound, by contrast, adopted a different path, attempting to overcome these limitations through aesthetic innovation. He created a multitude of imagery that preserved the spirit of Chinese poetry while conforming to Western aesthetic tastes. Cathay demonstrates that the “long journey” of the spirit of Chinese poetry not only objectively facilitated communication and mutual learning between Chinese and Western poetics but also, on a higher level, influenced the creative works of modern Western poets. With the digitalization of Pound’s manuscripts, the path of this textual interaction has become increasingly clear, offering new perspectives for our research.

Key words: Ezra Pound, Cathay, Fenollosa’s notes, image

摘要： 庞德的《华夏集》基于厄内斯特·费诺罗萨笔记转译而成。两者都是对中华诗的英译,但在翻译路径、形式技术、审美取向上存在显著区别。在译诗过程中,费诺罗萨重视文化或语言的忠实转换,追求对东亚文化的亲和力,但由于中西语言文化的隔阂,其译法有先天的局限性。庞德则另辟蹊径,试图通过美学革新来超克这一局限,他创构了大量既葆有中华诗之风神、又符合西语审美趣味的意象。《华夏集》表明,“远游”的中华诗神不仅在客观上促进了中西诗学的沟通互鉴,还在更深层次上影响了具有原创力的现代西语诗人的创作。随着庞德手稿的数字化,这一文本互动的路径越发清晰,为我们的研究提供了新视角。

关键词: 庞德, 《华夏集》, 费诺罗萨笔记, 意象