ABSTRACT

This chapter examines in greater detail the consequences of conception for the actual practices of the translators under discussion in matters of syntactical and structural discourse. Pound's notion of the moving image does not in fact square with what might be called the syntactically articulated image, though it is evident that his emphasis is often placed on the latter. It is useful to remember those extremely condensed images fashioned out of Giles's versions in Lustra, as Fenollosa's notes in large part actually contradict Pound's beliefs at this time about Chinese poetry. The Chinese poem starts with a floating image which creates a mood for its development. The elaboration of the mood would be finally transferred back to reinforce the initial image. Yet, it is surely the case that traditionally Chinese poems have not been printed in such a way as to highlight the parallel or juxtapository structure of images and characters.