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The influence of the Chinese classics upon Ezra Pound as is shown in his composition of The Cantos and his translation of, She King, The Classic Anthology Defined by Confucius, will be surveyed. His cantos under the influence of Chinese classics are either wholly devoted to, or partially involved in, the Chinese matter: the exclusively Chinese cantos are sixteen cantos, the Analect canto (Canto 13), the seven lakes canto (Canto 49), the Chinese dynastic cantos (Cantos 52 thru 61), the Chou King cantos (Cantos 85, 86), and the Sacred Edict cantos (Cantos 98, 99), and the partial ones are Cantos 2, 4, and the Pisan cantos (Cantos 74 thru 84) except Cantos 75 and 81.The Chinese influence upon Ezra Pound manifest itself in the form of Confucianism. He believes in Confucius. His Chinese-matter cantos and his translation of the Confucian Odes are meant to prove that China dynasties that followed Confucian teachings prospered and those that neglected them perished. His message is that Confucianism saves the world, which is collapsing under the heavy weight of corruption of capitalism, materialism, and Christianity; and Confucianism may be summed up into two premises: peace and harmony with nature, and awareness and acceptance of heavenly will. His manner, or his aesthetic device is, the ideogrammic method, which hopefully tries to save the cantos from falling into a dry social and historical documents. He succeeds in making the cantos chaotic and difficult, which gives them aesthetic retardation, apart from the readers' liking it or not.