I am homesick after mine own kind, Oh I know that there are folk about me, friendly faces, But I am homesick after mine own kind.
Pound decided when he was only fifteen that, by the time he was thirty, he would know more about poetry than any person living.
Although this might seem at first the typical dream of a talented, ambitious adolescent, Pound obviously meant it, and his dedication to his art was so intense that he largely fulfilled his pledge.
His knowledge of verse form, meter, rhythm, and poetic devices and traditions was unrivaled among his contemporaries. In pursuit of his goal, Pound became the image of the modern poet: He dressed the part, acted the role, and subordinated almost everything in his personal life to his poetry.
Pound the character could be dismissed were it not for his interaction with other writers of his time. He was a generous friend, securing funds for men such as Joyce, tutoring aspiring poets such as Hilda Doolittle whom he renamed H.
Eliot in editing Ezra pound essay Waste Land into final form. Pound was concerned with promoting true talent wherever he discovered it, and it is likely that many modern classics would have been unwritten—or written less well—without Ezra Pound.
In his theories, Pound exerted a similar influence. He found English poetry to be verse that was largely content with outworn techniques, sentimental vision, and an inability Ezra pound essay distinguish excellence from mediocrity.
Although Pound despaired over his lack of influence, he actually succeeded remarkably well in establishing higher poetic standards and forcing modern poets to abide by them.
Pound brought renewed attention to the key elements of poetry: Some complained, and still complain, that this made modern poetry difficult, even incomprehensible. These objections do have a certain merit, because Pound articulated theories that led to poetry which made greater demands on the reader.
If at times modern poetry cries out more for translation than simple reading, this is the legacy of Pound. Because it focuses more attention on the poem itself, however, and causes the reader to become a participant in the work of art, this is a legacy which has strengthened true poetry while giving the attentive reader more worthwhile pleasure.
He is a difficult poet—although not intentionally so—and his work requires a level of knowledge and sensitivity which some readers cannot bring to the page and which others do not believe worth the effort. The Cantos have been called the great unread poem of the twentieth century.
Pound may have been right when he concluded that he could not make the Cantos cohere. Still, in their individual sections they offer breathtaking vistas of language and thought, a collection of shining images that radically redefine what poetry can be and what it can do.
To his credit, Pound recognized this and sought a solution. No ivory tower intellectual, but a socially committed writer, he wanted to include, rather than exclude, and he consistently advocated education, true education, as essential for a fully human society.
In a sense, Pound wanted a society where anyone had the opportunity and the ability to read the Cantos. It was only a vision, perhaps, but a worthy one. Poem Pound presents a satirical yet ambiguously affectionate depiction of a literary hostess. Nothing really important is said here, possibly because it would be wasted: The woman is compared to the Sargasso Sea, that area in the North Atlantic where floating seaweed from the Gulf Stream gathers and where tradition says that wrecked ships, lost hulks, and vanished vessels are mired forever.
Perhaps it would be threatened by it; perhaps it is simply not interested. While she is compared to the Sargasso Sea, a stagnant backwash of the vital ocean, she is not explicitly condemned.
Perhaps, the poem implies, she, like the artists of the time, has been a victim of the culture. Poem Pound uses a brief vivid image to express a profound aesthetic experience that occurred in everyday life.The Young Genius: Ezra Pound’s influenced poetry on Benito Mussolini and the Fascist movement, time of his stay in St.
Elizabeth’s Hospital and the concept of Imagism. With regards to there being nothing later than – in A Personal Journey with Martin Scorsese through American Movies, a documentary he made with the BFI, Scorsese said that that was when he started making movies, and that he wasn’t as able to critique that work.
literary essays of ezra pound edited with an introduction by t. s. eliot by ezra pound abc of reading the cantos of ezra pound the classic noh theatre of japan.
Nov 16, · Debate stemming from Ezra Pound's Fascist tendencies and anti-Semitic writings. Ezra Pound came to epitomize the heart of the art-for-art's-sake argument when he . Literary Essays of Ezra Pound [Ezra Pound, T. S. Eliot] on yunusemremert.com *FREE* shipping on qualifying offers.
For this definitive collection of Pound's Literary Essays, his friend (and English editor) T.
S. Eliot chose material from five earlier volumes: Pavannes and Divisions (). - This essay intends to respond to the statement "Poetry is a form of organised violence committed upon ordinary speech” through the use of poetry by William Carlos Williams, Ezra Pound and yunusemremert.comgs.