"The River-Merchant's Wife: A Letter" was published in 1915 in Ezra Pound's third collection of poetry, Cathay: Translations, which contains versions of Chinese poems composed from the sixteen notebooks of Ernest Fenollosa, a scholar of Chinese literature. Pound called the poems in English which resulted from the Fenollosa manuscripts "translations," but as such they are held in contempt by most scholars of Chinese language and literature. However, they have been acclaimed as "poetry" for their clarity and elegance. They are variously referred to as "translations," "interpretations," "paraphrases," and "adaptations."
Pound's study of the Fenollosa manuscripts led to his preoccupation with the Chinese ideogram (a written symbol for an idea or object) as a medium for poetry. In fact, he realized that Chinese poets had long been aware of the image as the fundamental principle for poetic composition that he himself was beginning to formulate. Pound further maintained that the poetic image did not lose anything in translation between languages nor was it bound by time, but effectively communicated through time and across cultures, accruing meaning in the process. "The River-Merchant's Wife: A Letter," for example, communicates with depth and poignance the human experience of sorrow at separation, the human experience of love.
Working with the literary traditions of other cultures was typical not only of Pound, but of most of his contemporaries, who were not convinced that the only culture of value was European. However, Pound's work has significance not only for its cross-cultural innovations, but for the "cross-chronological" breakthrough notion that the human response to the world links us all, so that an American in the twentieth century can share and learn from the human experience of an eighth century Chinese river-merchant's wife.
This opening stanza of 6 lines is organized around a central image of the river-merchant and his wife as a child, confirmed by the first component of the central image: the picture of a little girl with her hair cut in bangs. (The mark of an adult woman in the ancient Chinese culture was elaborate arrangements of uncut long hair.)
Each line contributes to a clearer understanding of the central image of the children. The repetition in three separate lines of the verb "playing" to describe the little girl's activity at the front gate, as well as the little boy's presence on stilts and his circling around where she sits, emphasizes the natural, contented activity of children—almost as a part of the natural world referred to here by "flowers" and "blue plums."
This stanza establishes the presence of the "I" and the "you" in the world of the poem.
The second stanza places the girl and the boy, the "I" and the "you," as a woman and man in the adult world. In ancient cultures, and in some cultures today, early marriages are customary, and it is often also the custom for the wife to refer to her husband by a respectful title. In the case of this poem the formality of the title is softened by the direct address of "you" added right after it.
Lines 8-9 establish the child-wife's shyness in this formal adult situation by offering a picture of her bent head and averted eyes, a shyness so extreme that she could not respond to her husband, no matter how many efforts he made.
The central image of this stanza is the growth of love between the young husband and wife. Her face, which in the first stanza has the bangs of childhood across her forehead, in the second stanza is averted and unsmiling, "stops scowling" in the third stanza.
The vows of the marriage ceremony, "till death us do part," are evoked in lines 12 and 13 and poignantly reinforced by the triple repetition in line 13 of "forever."
It is unclear whether "climb the lookout" in line 14 is a reference to a ritual performed in this culture by a wife after death, perhaps to look for other offers to marry that might come her way. If it...
(The entire section is 1,137 words.)