縱觀龐德的文學生涯,其翻譯和創作互為表里,其創作寓于翻譯,翻譯中又不乏創作,這兩者又是其詩學的試驗場,豐富了其意象主義與漩渦主義的(翻譯)詩學觀,三者相輔相成,相互激發。所有這些,幾乎都與詩人翻譯家創造性地轉化與(或有意或無意地)誤讀中國古典文學和哲學息息相關。常為學界忽略的是,其糅合東西文化的詩歌創作與改寫式翻譯都呈現出良好的文體意識和超邁的文體策略,主要體現在以下幾個方面:英語俳句組詩,表意文字法的陌生化或前景化,拼貼文體等,不僅為英美現代詩歌奠定了典范,同時也有助于我們重新思考翻譯與創作和詩學的本質及其相互關系。

Ezra Pound’s literary career consists of two mutually enhancing constituents: translation and creation, which, as a whole, serve as an experimental field that has enriched his imagistic and vorticist poetics, including his poetics of translation. These three dimensions are closely related to his(un)intentional creative transforming and misreading of classical Chinese literature and philosophy. Pound’s poetry creation and free translation show strong stylistic consciousness and strategies, but this largely remains largely unexplored by academic research. His stylistic strategies take such forms as English haiku, the defamiliarization or foregrounding of ideograms, and the stylistic collage, and these innovations have not only set canonical examples for modern English poetry, but also pointed to a rethinking of the nature of and the interrelation between translation, creation, and poetics.