In his decades-long career of translation, American poet Ezra Pound suffered from polarized evaluations concerning his various translations of Confucian classics. Focusing on Pound's translation of The Analects, this study attempts not only to explore the quality of his translated texts, but also to investigate the so-call "ideogrammic method," the creative way of interpreting Confucian classics chosen deliberately by himself. It concludes that the ideogrammic method reflects Pound’s long-term study of Chinese written characters, and that the concept of "direct treatment of things," the first principle he set up for the Imagist Modernist poetry, is coherent with that method. On the whole, Pound uses this method to make a creative translation of The Analects which differs greatly from Guillaume Pauthier’s and James Legge’s versions. It is emphasized that with the ideogrammic method Pound has not only made his translation fresh and vivid but also practiced his view of "energy in language."