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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