An Inquiry into the Spiritual Frame of Cathay Life in Ezra Pound's Cathay and The Seven Lakes Canto
This article focuses on the secular aesthetic spiritual frame,Taoist spiritual frame,Zen Buddhist frame and Confucian spiritual frame purported by the trans-cultural poiesis of manifesting poetry with poetry in Anglo-American Modernist poet Ezra Pound's Cathay and The Seven Lakes Canto from trans-cultural perspective by referring to the German cultural philosopher Oswald Spengler's theory of cultural organism.It foregrounds the three routes of trans-culturally transplanting the spiritual life of Cathay civilization in Pound's poems:the combination of phanopoeia,melopoeia and logopoeia;the superpositioning,paralleling,referring or merging of heterotopic time-spaces inspired by Chinese character and poetry;the trespassing of the boundaries between painting and poetry,poetry,thought and history,Taoism,Budhhism and Confucianism,ancient and today,as well as the West and the East.The prime-symbol crystalized through the Cathay life-form in Pound's tran-cultural poiesis manifests the complex feature of secular concern of friendship and love,cosmic life concern,Zen Buddhist spiritual redemption concern and the Confucian ideal of sage-governed civilization,with"Tao"as the root.
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