In his creation, Pound not only borrowed from China's ancient poems, but also personally rewritten many China's ancient poems, among which Liu Che is a very famous one. This poem is said to be the Song of Mourning Leaves by the late Li Furen Liu Che during the reign of Emperor Wu of the Han Dynasty. It was once translated into English by a sinologist, and Pound, who didn't know Chinese, rewrote the poem according to the translation. In fact, the original poem is not a standard "image" poem. In the lonely and sad atmosphere, it shows the memory of the deceased Ji of Emperor Wu of the Han Dynasty, which is lyrical, especially in the two lines at the end, "Looking at the beauty is restless", and the inner feelings are still very strong. Compared with the original poem, Pound's "rewriting" filters the color of emotion and tends to present images. The first four lines are undoubtedly the transformation of the original poem: lost dresses, dusty steps, whirling leaves and empty rooms. These main images are all from the original poem, but in Pound's works, they form a more complete picture. The phrase "quiet rotation accumulation" conveys the lack of movement in the original poem and paves the way for the later poems. The fifth line, "She, the joy in my heart, sleeps below", is Pound's original creation. The poet imagined that the "she" that Liu Che missed (that is, the "I" in the poem) was buried under the fallen leaves, which produced a pun effect: the fallen leaves buried not only beauty, but also memories in my heart and those lost joys. Although the lyrical ending of the original poem was abandoned, the expression of inner feelings was more subtle.
Compared with the original poem, the sixth line is changed: "A wet leaf sticks to the threshold". There is no such sentence in the original poem, which comes entirely from Pound's creative addition. It is separated from the above five elements and constitutes the second section of the whole poem. Although the images of fallen leaves appear in the above lines, from the perspective of sentence coherence, the last line is a bit abrupt and seems to lack the necessary transition with the above five lines as a whole. The impression is that the above five lines form a complete picture, and the last line itself is like a "wet leaf", which is directly adhered to it. This technique of "pasting" is actually a juxtaposition of images. In the juxtaposition with "pictures", the image of "leaves" seems to be enlarged, forming a close-up effect. We seem to see its lonely image and feel its pain bending on the threshold. The last line added by the poet is by no means superfluous, but the pen of genius. While the original poem is sad, it also gives the rewritten work a modern language tension. Reading this poem, we should not only appreciate the beauty of the image of the poem, but also pay attention to what interesting changes have taken place after China's ancient poems were rewritten by western poets.