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....... 16 
3.1.2 Wilderness Practice ........... 18 
3.1.3 Snyder’s Sense of Place .... 19 
3.2 Gary Snyder’s Ecological Religion...... 20 
3.2.1 Snyder’s Practice of Zen Buddhism ...... 21 
3.2.2 Zen and Snyder’s Deep Ecological Views ...... 22 
3.3 Snyder’s Eco-poetics ........ 24 
3.3.1 Ecological Themes ............ 24 
3.3.2 Ecological Language ......... 25 
3.3.3 Natural Grammar .... 26 
CHAPTER IV SNYDER’S TRANSLATION OF THE COLD MOUNTAIN POEMS VIEWED ..... 28
4.1 The Selection of the Text ........... 28 
4.1.1 The Similarities between Han Shan and Gary Snyder ........ 28 
4.1.2 The Poetic Features of the Cold Mountain Poems .... 31 
4.1.3 The Social Background of Snyder’s Translation ...... 32 
4.2 Snyder’s Ecological Translation .......... 33
CHAPTER V THE CANONIZATION OF SNYDER’S TRANSLATION ....... 46
5.1 Literary Background ........ 46 
5.2 Ideological Background ............. 48 
5.3 Publishing Factors ............ 50 
5.4 The Establishment and Significance of the Canonization ........... 52 

CHAPTERV  THE  CANONIZATION  OF  SNYDER’S TRANSLATION 

Featured  with religious them es  and  vernacular  language, the Cold Mountain poems used to be denied by orthodox Chinese literature. Therefore, Han Shan was not regarded as a prom inent poet in the histor y of Chinese literature. Nevertheless, the Cold Mountain poems have enjoyed a good reputation when they were introduced into  the Un ited  States.  And then, the “Han  Shan  Fever”abroad in  turn  drew th e attention of scholars in China. Thus it is saf e to say that th e translation of the Cold Mountain poems has brought a new life to Han Shan and his poems both at home and aboard. Gary Snyder’s translated version of the Cold Mountain poems has undergone a process of canonization in the past 50 years. An analysis is to be m ade in this chapter to illustrate the factors contributing to the canonization.  

5.1 Literary Background 
At the beginning of the twentieth century, American poems are still featured with the  Victorian  style, which is characterized b y  stereotyped  forms  and im ages  and factitious emotion. To seek a new model  to fill up the vacuum of American poetry circle and to combat the lengthy and tedious Victorian style, American poets initiated the New Poetry Movem ent. American poets  such as Ezra Pond and Am y  Lowell began to study and imitate ancient Chinese poems which are simple in language and direct  in expression. Com bining  with the esse nce  of  ancient  Chinese  poems  and ideological  of Am erican,  American  poets  wrote  poems  in a new American style. Conventional  syntactic rules were broke n  and  the jux taposition  of im ages  was advocated  to achieve visual and vivid ef fects.  Vague  expressions  and styles were abandoned and vernacular language was increasingly to shorten the distance between the poem and people’s life. 
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CONCLUSION 

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