庞德的几副面孔——以“意象派六原则”在20世纪早期中国的译介为线索（英文）

吴可

庞德的几副面孔——以“意象派六原则”在20世纪早期中国的译介为线索（英文）

吴可

北京大学

计量
- 文章访问数: 430
- HTML全文浏览量: 55
- PDF下载量: 356
- 被引次数: 0
出版历程
- 收稿日期: 2018-10-09
- 刊出日期: 2021-03-09

Several Faces of Ezra Pound: A Study Focused on the Translation and Introduction of the Six Principles of Imagism into China in the Early Twentieth Century

WU Ke

Peking University

摘要

摘要: 埃兹拉·庞德（Ezra Pound）与中国的渊源关系历来为研究者所重视，尤其是他与中国新诗或现代文学的兴起、发展关系密切，甚至被一些学者认为是1917年文学革命的教父。可以肯定的是，庞德最初是以意象派诗人的群像之一出现于当时的国人视野，其“革命家”的定性也充分显示了刘延陵等人当时的左翼政治立场。然而，问题在于刘延陵、徐迟等人不仅对庞德自身理论发展的复杂有所忽视，也没有充分在意意象派内部的分裂与路线斗争，即庞德与艾米·洛威尔的分歧，以及所谓“意象派六原则”其实存在一个前后发展、变化的过程。这就造成了对庞德理解的简单化，甚至对庞德本来的面目有所混淆。而这一问题在今天的学界也没有得到充分的重新检视。通过检阅旧报刊和中外材料的比对，我们不难发现20世纪早期庞德及“意象派六原则”在中国的译介存在着不少误读，或者说别有用意的“发明”，如胡适将自由原则作为意象派理论的核心，将自由与自由诗做同一性处理，甚至将文学领域内小写的自由与更多指向政治问题的大写自由相同一；又如从刘延陵到徐迟，对庞德是否是“革命者”存在定位的转移，甚至徐迟前后译文中有一些细小变化。由此，笔者试图澄清庞德与洛威尔的不同面孔，以及勾勒、反思中国新诗乃至新文学建构史的线索：从左翼“革命”话语到“第三种人”对“革命”的疏离与反思；从“运动”到“商业”；从“启蒙”与“救亡”的合流到“世界主义”与“民族主义”的分裂；从苏联到美利坚。
- 埃兹拉·庞德 /
- 艾米·洛威尔 /
- 意象派六原则 /
- 意象主义 /
- 新诗 /
- 中国
Abstract: Chinese Researchers have paid great attention to the relationship between Ezra Pound and China, especially the relationship between his contribution and the origin and development of Chinese new poetry and Chinese modern literature. Some researchers even regard him as the Godfather of the Literary Revolution in 1917. Doubtlessly, Pound was introduced to China as a member of the Imagist poets at the very beginning, with a label of the revolutionist, which clearly revealed the left-wing position of Liu Yanling刘延陵 (1894-1988) at that time. However, Liu and Xu Chi 徐迟 (1914-1996) overlooked the complicated development of Pound’s own theory, ignored the divergence of opinion between Pound and Amy Lowell on Imagist theory, and neglected the variation of the so-called Six Principles of Imagism as well. All these problems are still waiting to be fully reviewed today, or else it would bring about simplification and confusion in our understanding of Pound’s true meaning. Based on reviewing old newspapers and comparing foreign original texts with Chinese translated versions, it is not difficult for us to find out that there exists a lot of misreading, perhaps more appropriately, some inventions in the process of translation and introduction of Pound’s theory and the Six Principles of Imagism into China during the early 20s. For example, Hu Shi 胡适 (1891-1962) took the principle of freedom as the core of imagist theory, made the definition of freedom equal with the free verse, and even identified the liberty within literary domain with the capitalized Liberty referring more to political issues. We can also see the disappearing of the label “the revolutionist” from Liu’s text to Xu’s, and even tiny changes of words, worthy of tracing, in Xu’s variant versions in different historical contexts. Thus, I would like to clarify different interpretations of Pound and Lowell, and outline a clue to rethink new poetry and even new literature in China: from revolutionary discourses of the left-wing to the Third Men’s deviation from revolution; from political movements to commercial activities; from the combination of enlightenment and salvation to the dispute of cosmopolitanism and nationalism; from Russia to the US, etc. 1
- Ezra Pound /
- Amy Lowell /
- Six Principles of Imagism /
- Imagism /
- New Poetry /
- China

HTML全文

参考文献(59)

[1]	Fenollosa, Ernest and Ezra Pound. The Chinese Written Characters as a Medium for Poetry (A Critical Edition). New
[2]	York: Fordham University Press, 2008.
[3]	Henderson, Alice Corbin.“Imagism: Secular and Esoteric.” Poetry: A Magazine of Verse 11, no. 6 (1918): 339-43.
[4]	Hughes, Glenn. Imagism & the Imagists: A Study in Modern Poetry. New York: Humanities Press, 1960.
[5]	Jones, Peter. Imagist Poetry. Harmondsworth: Penguin, 1972.
[6]	Kort, Carol. A to Z of American Women Writes (Revised Edition). New York: Facts on File, 2007.
[7]	Lowell, Amy et al. Some Imagist Poets: An Anthology. Boston and New York: Houghton Mifflin Company, 1915.
[8]	——. Some Imagist Poets, 1916: An Annual Anthology. Boston and New York: Houghton Mifflin Company, 1916.
[9]	——. Tendencies in Modern American Poetry. New York: The Macmillan Company, 1917.
[10]	Pound, Ezra. New Selected Poems and Translations. New York: New Directions Publishing Corporation, 2010.
[11]	——.“A Few Don’ts by an Imagiste.” Poetry: A Magazine of Verse 1, no. 6 (1913): 200-206.
[12]	—— (Signature of F. S. Flint).“Imagisme.” Poetry: A Magazine of Verse 1, no. 6 (1913): 198-200.
[13]	——.“A Retrospect.” In Literary Essays of Ezra Pound. Edited by T. S. Eliot. New York: New Directions Publishing
[14]	Corporation, 1968.
[15]	Read, Herbert. The Tenth Muse: Essays in Criticism. New York: Horizon Press, 1958.
[16]	Roberts, Neil. A Companion to Twentieth-Century Poetry. Oxford: Blackwell Publishing Ltd., 2001.
[17]	废名：《谈新诗》，北京：人民文学出版社， 1984年。
[18]	[FEI Ming (FENG Wenbing). Tan xinshi (On New Poetry). Beijing: People’s Literature Publishing House, 1984.]
[19]	郭沫若：《郭沫若致宗白华》（1920年2月16日），见《郭沫若全集》（文学编）第15卷，北京：人民文学出版社， 1990年，
[20]	第45—50页。
[21]	[GUO Moruo.“Guo Moruo zhi Zong Baihua” (A Letter to Zong Baihua[Feb. 16, 1920]). In Guo Moruo quanji
[22]	(Anthology of Guo Moruo[Literary Compilation]). Vol. 15. Beijing: People’s Literature Publishing House, 1990,
[23]	45-50.]
[24]	胡适：《谈新诗——八年来一件大事》，《星期评论》 1919纪念号第5卷，第1—4页。
[25]	[HU Shi.“Tan xinshi—banian lai yijian dashi” (On New Poetry: A Big Event in Eight Years). Xingqi pinglun 1919 jinian
[26]	hao (Weekly Review) 5 (1919 memorial issue): 1-4.]
[27]	——：《胡适留学日记》，上海：上海书店，1948年。
[28]	[——. Hu Shi liuxue riji (Hu Shi’s Overseas Journals). Shanghai: Shanghai Bookstore Publishing House, 1948.]
[29]	蒋洪新、郑燕虹：《庞德与中国的情缘以及华人学者的庞德研究——庞德学术史研究》，《东吴学术》 2011年第3期，第
[30]	122—134页。
[31]	[JIANG Hongxin and ZHENG Yanhong.“Pangde yu Zhongguo de qingyuan yiji huaren xuezhe de Pangde yanjiu—
[32]	Pangde xueshu shi yanjiu” (The Relationship between Pound and China, and Researches of Pound by Chinese Scholars:
[33]	Focused on History of Academic Researches of Pound). Dongwu xueshu (Soochow Academic) 3 (2011): 122-34.]
[34]	梁实秋：《现代中国文学之浪漫的趋势》，《晨报副刊》 1926年3月25日，第57—59页。
[35]	[LIANG Shiqiu.“Xiandai Zhongguo wenxue zhi langman de qushi” (The Romantic Tendency of Chinese Modern
[36]	Literature). Chenbao fukan (Morning Post Supplement) 25 (March 1926): 57-59.]
[37]	刘延陵：《美国的新诗运动》，《诗》 1922年第1卷2期，第23—33页。
[38]	[LIU Yanling.“Meiguo de xinshi yundong” (The Movement of New Poetry in America). Shi (Poetry) 1, no. 2 (1922):23-33.]
[39]	梅光迪：《评提倡新文化者》，《学衡》 1922年第1期，第1—7页。
[40]	[MEI Guangdi.“Ping tichang xin wenhua zhe” (Criticizing Advocators of New Culture). Xueheng (Critical Review) 1
[41]	(1922): 1-7.]
[42]	邵洵美：《现代美国诗坛概观》，《现代》 1934年第5卷第6期，第874—890页。
[43]	[SHAO Xunmei.“Xiandai Meiguo shitan gaiguan” (Overview of American Modern Poetry). Xiandai (Contemporary) 5,
[44]	no. 6 (1934): 874-90.]
[45]	王珂：《英语意象派运动的文体革命特点及与汉语新诗革命的差异》，《社会科学研究》 2007年第2期， 171—176页。
[46]	[WANG Ke.“Yingyu yixiangpai yundong de wenti geming tedian ji yu hanyu xinshi geming de chayi” (The
[47]	Characteristics of Revolution of Literary Forms in English Imagism Movement and the Differences with Revolution of
[48]	Chinese New Poetry). Shehui kexue yanjiu (Social Science Research) 2 (2007): 171-76.]
[49]	徐迟：《意象派的七个诗人》，《现代》 1934年第4卷第6期，第1013—1025页。
[50]	[XU Chi.“Yixiang pai de qi ge shiren” (Seven Poets of Imagism). Xiandai (Contemporary) 4, no. 6 (1934): 1013-25.]
[51]	——：《哀慈拉·邦德及其同人》，《现代》1934年第5卷第6期，第981—984页。
[52]	[——.“Aicila·Bangde ji qi tongren” (Ezra Pound and His Contemporaries). Xiandai (Contemporary) 5, no. 6 (1934):
[53]	981-84.]
[54]	——：《意象派的七个诗人》，见《徐迟文集》第6卷，北京：作家出版社，2014年，第24—37页。
[55]	[——.“Yixiang pai de qi ge shiren” (Seven Poets of Imagism). In Xu Chi wenji (Anthology of Xu Chi). Vol. 6. Beijing:
[56]	The Writers Publishing House, 2014, 24-37.]
[57]	赵毅衡：《诗神远游：中国如何改变了美国现代诗》，上海：上海译文出版社， 2003年。
[58]	[ZHAO Yiheng. Shishen yuanyou: Zhongguo ruhe gaibian le Meiguo xiandai shi (The Muse from Cathay: How China Has
[59]	Changed Modern American Poetry). Shanghai: Shanghai Translation Publishing House, 2003.]