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The first book to deal with the subject of Ezra Pound's relationships with Japanese literature as a whole, this book provides a wealth of new scholarship on this subject, including on the 19th-century Japanese contexts that led to Pound's interest in 'hokku' and Fenollosa's No translations on which Pound based his own; significant original research on Pound's Japanese friendships that enriched his understanding of Japanese literature; and an examination of all the explicit references to No in The Cantos in unprecedented depth. It demonstrates that the works for which Ezra Pound is most famous, such as 'In a Station of the Metro' and his epic poem, The Cantos, were shaped by his lifelong interest in Japanese literature.
The first book to deal with the subject of Ezra Pound's relationships with Japanese literature as a whole, this book provides a wealth of new scholarship on this subject, including on the 19th-century Japanese contexts that led to Pound's interest in 'hokku' and Fenollosa's No translations on which Pound based his own; significant original research on Pound's Japanese friendships that enriched his understanding of Japanese literature; and an examination of all the explicit references to No in The Cantos in unprecedented depth. It demonstrates that the works for which Ezra Pound is most famous, such as 'In a Station of the Metro' and his epic poem, The Cantos, were shaped by his lifelong interest in Japanese literature.
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Ezra Pound (1885 1972) was an American expatriate poet who was a major figure of the Modernist movement in the first half of the 20th century. After moving to London Pound became Yeats's secretary, and developed an interest in Yeats's occult beliefs. They lived together and studied Japanese especially the Noh plays. Pound translated Chinese, Greek, Latin and Japanese poetry into English. Certain Noble Plays of Japan: from the manuscripts of Ernest Fenollosa, chosen and finished by Ezra Pound was published in 1916. The introduction was written by Yeats. Plays included are Nishikigi by Motokiyo, Hagoromo, Kumasaka, and Kagekiyo.
Cathay is a compilation of traditional Chinese poems translated into English by poet Ezra Pound. These fifteen poems are seen less as strict translations and more as new pieces in their own right.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... FENOLLOSA ON THE NOH The Japanese people have loved nature so passionately that they have interwoven her life and their own into one continuous drama of the art of pure living. I have written elsewhere 1 of the five Acts into which this lifedrama falls, particularly as it reveals itself in the several forms of their visual arts. I have spoken of the universal value of this special art-life, and explained how the inflowing of such an Oriental stream has helped to revitalize Western Art, and must go on to assist in the solution of our practical educational problems. I would now go back to that other key, to the blossoming of Japanese genius, which I mentioned under my account of the flower festivals, namely, the national poetry, and its rise, through the enriching of four successive periods, to a vital dramatic force in the fifteenth century. 1 "Epochs of Chinese and Japanese Art," by Ernest Fenollosa. London: Heinemann, 1911. Surely literature may be as delicate an exponent of a nation's soul as is art; and there are several phases of Oriental poetry, both Japanese and Chinese, which have practical significance and even inspiration for us in this weak, transitional period of our Western poetic life. We cannot escape, in the coming centuries, even if we would, a stronger and stronger modification of our established standards by the pungent subtlety of Oriental thought, and the power of the condensed Oriental forms. The value will lie partly in relief from the deadening boundaries of our own conventions. This is no new thing. It can be shown that the freedom of the Elizabethan mind, and its power to range over all planes of human experience, as in Shakespeare, was, in part, an aftermath of Oriental contacts--in the Crusades, in an intimacy...