Ezra Pound’s Adaptation and Translation of the Japanese Nō
Keywords:
Ezra Pound, Japanese Nō theatre, translation studies, literary adaptation, Fenollosa-Hirata notes, imagismAbstract
This article analyzes Ezra Pound's translation and adaptation of the Japanese Nō theatre, focusing on his work with the Fenollosa-Hirata notes. The paper explores the distinction between translation and adaptation, arguing that Pound's interpretations of these concepts are crucial to understanding his creative process. This study examines two texts derived from a single Nō play by Zeami Motokiyo: “Nishikigi,” generally considered a translation, and “Tristan,” labeled an adaptation. The article demonstrates how Pound’s ideological differences shaped these versions, highlighting his fascination with ghost psychology and its dramatic potential. The author contends that Pound's adaptations prioritize reenactment and recurrence over his favored poetic principles of imagism, revealing a complex interplay between cultural translation and creative innovation. The significance of this work lies in its contribution to the broader discourse on translation studies and literary adaptation.(The abstract and keywords were prepared retrospectively for indexing purposes using AI-assisted tools and editorial review, based on the original article. They did not appear in the original publication.)
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