1969), 88–92; Robert Kern, Orientalism, Modernism, and the American Poem (Cam-
bridge, Eng.: Cambridge University Press, 1996), 197–201.
- See K. K. Ruthven, A Guide to Ezra Pound’s Personae, 1926 (Berkeley: Univer-
sity of California Press, 1969), 206: “Japanese Cho-fu-sa from Chinese Ch’ang-feng-
sha... the long Wind Beach... in An-hwei, several hundred miles up the river from
Nanking.” - Hugh Kenner, who cites this example in The Pound Era (Berkeley: University
of California Press, 1971), 204, also notes that in “Song of the Bowmen of Shu,” the
reference to the “®ying general” “Ri” (he was the famous Ri Shogun during the Kan
dynasty) becomes “Rishogu” (see 221). - Yunte Huang, e-mail letter to the author, 17 April 2002. I am indebted to
Huang’s suggestions about Chinese names, idioms, and references throughout this
essay; see his Transpaci¤c Displacement: Ethnography, Translation, and Intertextual
Travel in Twentieth-Century American Literature (Berkeley: University of California
Press, 2002), 60–92. - See “A Retrospect” (1918), The Literary Essays of Ezra Pound, ed. T. S. Eliot
(London: Faber and Faber, 1954), 3; Ezra Pound, “I Gather the Limbs of Osiris” (1911–
1912), Selected Prose, 1909–1965, ed. William Cookson (New York: New Directions,
1973), 21–25; Ezra Pound, ABC of Reading (New York: New Directions, 1960), 36. - Ezra Pound, Gaudier-Brzeska; A Memoir by Ezra Pound (1916; New York: New
Directions, 1970), 81–92. - ABC of Reading, 21.
- Ezra Pound, “The Approach to Paris,” New Age 13 (1913): 662; Selected Prose, 23.
- Hugh Kenner, “The Possum in the Cave,” in Allegory and Representation, ed.
Stephen J. Greenblatt (Baltimore: Johns Hopkins University Press, 1981), 140, and see
Kenner, “The Invention of China,” Pound Era, 192–222. The poem, says Kenner, “may
build its effects out of things it sets before the mind’s eye by naming them” (199).
Cf. Richard Sieburth, ed., A Walking Tour in Southern France: Ezra Pound among the
Troubadours (New York: New Directions, 1992), “Introduction,” vii–xxi. - Ezra Pound, “Digest of the Analects,” Guide to Kulchur (New York: New Di-
rections, 1952), 16. The reference is to Analects 13, 3. - Fung Yu-Lan, A Short History of Chinese Philosophy, ed. Derk Bodde (1948;
New York: Free Press, 1976), 41–42. - Ezra Pound, The Cantos (New York: New Directions, 1993), 298. Subsequently
cited as C. Numbers after slash mark refer to line number in a given Canto. - Michael André Bernstein, The Tale of the Tribe: Ezra Pound and the Modern
Ve r s e E p i c (Princeton, NJ: Princeton University Press, 1980), 45–46. - See Oxford Paperback Encyclopedia (Oxford: Oxford University Press, 1998).
- Jean-Michel Rabaté, Language, Sexuality, and Ideology in Ezra Pound’s Cantos
(Albany: SUNY Press, 1986), 175. Daniel Tiffany, in Radio Corpse: Imagism and the
Cryptaesthetic of Ezra Pound (Cambridge, MA: Harvard University Press, 1995), 20–
36 and passim, carries this even further, arguing that for Pound, “Image is equivo-
cally, but intentionally, nonvisual, insofar as it resists, contests, and mediates the ex-
Notes to Pages 41–44 275