The Chinese written character as a medium for poetry
The Chinese written character as a medium for poetry
复制标题
作为诗歌媒介的汉字
作者：
E. Fenollosa;E. Pound
这篇重要而备受争议的文章，是庞德（Ezra磅）根据费诺洛萨（Ernest Fenollosa）的手稿编辑而成（并发表在1920年伦敦的《煽动》（Instigations）上），此后几经再版，尽管耶鲁大学的乔治·肯尼迪（George Kennedy）教授等汉学家嘲笑它是“一小团混乱”。关于中国书写文字的性质的旧理论（磅和费诺洛萨遵循的理论）认为，书写文字是表意文字，是它所代表的事物或概念的程式化图像。相反的理论（今天在学者中流行）是，这个角色可能在史前时代有图画的起源，但是除了少数非常简单的情况外，这些起源在所有情况下都被掩盖了，并且在任何情况下，当地作家在写作时都没有原始的图画意义。磅是否在错误的前提下进行仍然是一个学术问题。让学究们去狂欢吧。磅对中国文字仍在书写时的诗意本质的感知，使意象派技巧在诗歌中得到了重要的扩展。
This important and much-disputed essay edited by Ezra Pound from the manuscript of Ernest Fenollosa (and published in Instigations, London, 1920) has since gone through several editions, despite the ridicule of such sinologists as Professor George Kennedy of Yale, who called it "a small mass of confusion. The old theory as to the nature of the Chinese written character (which Pound and Fenollosa followed) is that the written character is ideogrammic-a stylized picture of the thing or concept it represents. The opposing theory (which prevails today among scholars) is that the character may have had pictorial origins in prehistoric times but that these origins have been obscured in all but a few very simple cases, and that in any case native writers don't have the original pictorial meaning in mind as they write. Whether Pound proceeded on false premises remains an academic question. Let the pedants rave. An important extension of imagist technique in poetry was gained by Pound's perception of the essentially poetic nature of the Chinese character as it is still written.