納西文化雖為龐德《詩章》的一個亮點,卻未見有人加以文化解讀。龐德根據英譯納西經典與兩位納西文化圈內人的詮釋,在《詩章》續篇《詩稿與殘篇》中創作了納西詩篇。這些詩篇將納西經典中的殉情女子與離世的意象主義詩友杜麗特爾疊加,表達詩人對自己與杜麗特爾一起發動的意象主義運動的懷念。二戰前后,龐德曾偏執儒學,舍棄意象主義。細讀《詩稿與殘篇》第110和112詩章,可以揭開龐德沖破儒學禁錮、關注納西族禮儀、回歸意象主義的背景,展示他文化視野和現代派風格的雙重突破。晚年的龐德不僅尊重納西文化,還借用其觀念、意象,乃至象形字來創新意象主義-漩渦主義,抵制新興的后現代主義。

Although seen as a highlight in Ezra Pound’s Cantos, the Naxi motif has not been properly interpreted. The Naxi cantos in Drafts and Fragments, the last section of The Cantos, are based on the Naxi love tragedy of Kama and relevant information provided by two Naxi experts. These cantos juxtapose Kama with the deceased Imagist Hilda Doolittle,alluding to the poet’s nostalgia for the Imagist movement she helped launch. Before and during World War II, Pound fell for Confucianism and gave up Imagism. A close reading of Cantos 110 and 112 in Drafts and Fragments reveals Pound’s shift of interest to non-Confucian Naxi rites, and a return to Imagism—dual breakthroughs in vision of China and modernist poetics.In his final years, Pound not only showed respect for the Naxi culture, but also borrowed Naxi ideas, images, and pictograms both to renew Imagism-Vorticism and to ward off rising postmodernism.