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）

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

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。

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.