Chapter 5 Modernism (1)

The 1920s · ImagisThe 1920s · Imagism Poundm Pound

ContentsContents

Historical contextHistorical context Imagism (a literary term)Imagism (a literary term) Understanding and analysis Understanding and analysis

of of In a Station of the MetroIn a Station of the Metro by by PoundPound

AssignmentAssignment Define the term ImagismDefine the term Imagism List the three principles of Imagism by PoundList the three principles of Imagism by Pound What are the themes of What are the themes of In a Station of MetroIn a Station of Metro? Ta? Ta

ke example to show the themes from the poem.ke example to show the themes from the poem. What kind of form and meter does Pound emploWhat kind of form and meter does Pound emplo

y in writing y in writing In a Station of MetroIn a Station of Metro? What is its En? What is its English form?glish form?

What are the two images of What are the two images of In a Station of MetroIn a Station of Metro?? Answer the two questions on page 188 from Answer the two questions on page 188 from the the

Selected ReadingsSelected Readings..

Historical contextHistorical context The WWI had a great impact on this pThe WWI had a great impact on this p

eriod eriod The society was going on a change. The society was going on a change. Darwin’s theories of evaluation were Darwin’s theories of evaluation were

intensified with the development of scintensified with the development of science and technology ience and technology

People were starting to see the world People were starting to see the world differently, particularly artists and thidifferently, particularly artists and thinkers nkers

The WWI had a great impact on this periodThe WWI had a great impact on this period *The WWI proved tremendously profitable *The WWI proved tremendously profitable

to America.to America. The country made a great deal of The country made a great deal of money in the war and became, as a whole, a lmoney in the war and became, as a whole, a lot richer, so here came the economic boom.ot richer, so here came the economic boom.

*People became a sudden jump in technolo*People became a sudden jump in technologygy

Automobiles and radios appeared, the movie Automobiles and radios appeared, the movie revolution and the music, notably the jazz , avrevolution and the music, notably the jazz , available to everyone now.ailable to everyone now.

*The urban had badly enlarged*The urban had badly enlarged. . People crowded into cities.People crowded into cities. *A new type of industrial economy develop*A new type of industrial economy develop

ed.ed. Mass production, mass consumption, and maMass production, mass consumption, and ma

ss leisure became essential.ss leisure became essential.

The society was going on a change.The society was going on a change. * Old moral codes were breaking down.* Old moral codes were breaking down. OO

ld modes of perception were questioned.ld modes of perception were questioned. *Women appeared on social scene.*Women appeared on social scene. They They

wanted the same rights and salaries as men wanted the same rights and salaries as men did.did.

*After the war there was a letdown becau*After the war there was a letdown because nothing had changed.se nothing had changed. The heroism, pat The heroism, patriotism and the zeal for democracy and ideriotism and the zeal for democracy and idealism that drove people to war now proved alism that drove people to war now proved false and tasteless. People got disillusioned. false and tasteless. People got disillusioned.

**There was a high degree of intolerThere was a high degree of intolerance in America then.ance in America then. Many AmerMany Americans could not tolerate forms of raicans could not tolerate forms of radicalism and assertions of social andicalism and assertions of social and religious rights. Newer immigrand religious rights. Newer immigrants were discriminated.ts were discriminated.

*The Prohibition of alcohol angere*The Prohibition of alcohol angered popular taste.d popular taste. Bootleggers moveBootleggers moved in to reap huge profits from illegad in to reap huge profits from illegal sales.l sales.

Darwin’s theories of evaluation weDarwin’s theories of evaluation were intensified with the development re intensified with the development of science and technology.of science and technology. God was God was claimed dead. People lost faith withoclaimed dead. People lost faith without which one could no longer keep hiut which one could no longer keep his feeling and thought whole, and withs feeling and thought whole, and without which one no longer felt secure aout which one no longer felt secure and happy. Now people found themselnd happy. Now people found themselves living in a spiritual waste land as ves living in a spiritual waste land as T.S Eliot suggests in his epoch poem.T.S Eliot suggests in his epoch poem.

People were starting to see the world People were starting to see the world differently, particularly artists and tdifferently, particularly artists and thinkers.hinkers. The three thinkers who most The three thinkers who most shaped the mind-set of the early twentshaped the mind-set of the early twentieth century were Friedrich Nietzsche, ieth century were Friedrich Nietzsche, Karl Marx, and Sigmund Freud. Their Karl Marx, and Sigmund Freud. Their writings changed the intellectual climwritings changed the intellectual climate in the early twentieth century. Artiate in the early twentieth century. Artists and writers could no longer take fosts and writers could no longer take for granted the structures and values thar granted the structures and values that people used to rely on. t people used to rely on.

In American literature a whole neIn American literature a whole new generation of younger writers, Pw generation of younger writers, People were starting to see the worleople were starting to see the world differently,d differently, particularly artists a particularly artists and thinkers. nd thinkers. Impressionism appearImpressionism appeared with Dadaism and Expressionism.ed with Dadaism and Expressionism. Symbolism and surrealism became Symbolism and surrealism became stylish and popular. High Modernisstylish and popular. High Modernism began to dominate the world of litm began to dominate the world of literature and art. (There are so many erature and art. (There are so many writers listed in textbook from p157-writers listed in textbook from p157-page 158)page 158)

ImagismImagism ImagismImagism (definition) (definition) Three phases of the movemeThree phases of the moveme

ntnt The features of ImagismThe features of Imagism The new age demanded a proper literary eThe new age demanded a proper literary e

xpression. Imagism movement appeared xpression. Imagism movement appeared to meet the need of expressing the temper to meet the need of expressing the temper of the age.of the age.

ImagismImagism was a movement in early 20th-ce was a movement in early 20th-century Anglo-American poetry that favored ntury Anglo-American poetry that favored precision of imagery, and clear, sharp lanprecision of imagery, and clear, sharp language, which first started in London in 19guage, which first started in London in 1908. The Imagists rejected the sentiment an08. The Imagists rejected the sentiment and discursiveness typical of much Romantid discursiveness typical of much Romantic and Victorian poetry. This was in contrac and Victorian poetry. This was in contrast to their contemporaries, the Georgian pst to their contemporaries, the Georgian poets, who were by and large content to wooets, who were by and large content to work within that tradition. The Imagist moverk within that tradition. The Imagist movement included English and American poetment included English and American poets in the early twentieth century who wrote s in the early twentieth century who wrote free verse and were devoted to "clarity of efree verse and were devoted to "clarity of expression through the use of precise visuaxpression through the use of precise visual images."l images."

Three phases of the movemenThree phases of the movementt

**It first began in London in the yIt first began in London in the years 1908-1909, initiated by a youears 1908-1909, initiated by a young Englishman, T.E Hulmng Englishman, T.E Hulm, of whi, of which the spirit was the theorized poetch the spirit was the theorized poetic technique by Hulm of “absoluteic technique by Hulm of “absolutely accurate presentation and no verly accurate presentation and no verbiage”.biage”.

*The second phase was the period of s*The second phase was the period of some three years (1912-1914) when Ezrome three years (1912-1914) when Ezra Pound took over and championed tha Pound took over and championed the new poetry.e new poetry.

Pound defined the Pound defined the three principles of three principles of Imagist poetryImagist poetry as: as:

①① Direct treatment of the "thing," whetDirect treatment of the "thing," whether subjective or objective.her subjective or objective.

②② To use absolutely no word that does To use absolutely no word that does not contribute to the presentation.not contribute to the presentation.

③③ As regarding rhythm:As regarding rhythm: to compo to compo

se in sequence of the musical pse in sequence of the musical phrase, not in sequence of the mhrase, not in sequence of the metronome.etronome.

*The third period (1914-191*The third period (1914-1917) 7) Amy Lowell was in the leaAmy Lowell was in the leading place.ding place.

The features of ImagismThe features of Imagism

**Common speech is used, employing Common speech is used, employing always the exact word, not the nearly always the exact word, not the nearly exact; exact;

**Cliché is to be avoided;Cliché is to be avoided; **New rhythms are created as the New rhythms are created as the

expression of a new mood;expression of a new mood; **There is absolute freedom in choice There is absolute freedom in choice

of subject;of subject; *Images are to be concrete, firm and *Images are to be concrete, firm and

definite in their pictures, even harsh in definite in their pictures, even harsh in outline;outline;

**Concentration is to be striven foConcentration is to be striven for as the essence of poetry;r as the essence of poetry;

**The poetry should suggest ratheThe poetry should suggest rather than offer complete statements.r than offer complete statements.

**In American literary history, ImIn American literary history, Imagism was only a transient phase agism was only a transient phase of no longer than a decade. But it of no longer than a decade. But it has had a great influence on later has had a great influence on later writers.writers.

Understanding and anUnderstanding and analysis of alysis of In a Station of In a Station of

the Metrothe Metro by Pound by Pound

In a station of the metroIn a station of the metro

ContentsContents

IntroductionIntroduction Brief SummaryBrief Summary Line-By-Line understandingLine-By-Line understanding ThemesThemes Literary devices (technique)Literary devices (technique)

IntroductionIntroduction This is the only Ezra Pound poem that manThis is the only Ezra Pound poem that man

y people will read in their lives. Why? Becay people will read in their lives. Why? Because it’s two lines long. However, it’s not juse it’s two lines long. However, it’s not just that the poem is so short – it’s also that ust that the poem is so short – it’s also that Pound’s other; "famous" poems are so darPound’s other; "famous" poems are so darned long. His ned long. His CantosCantos, for example, are so lo, for example, are so long that he couldn’t finish them. ng that he couldn’t finish them. In the StatIn the Station of the Metroion of the Metro, however, is an exercise in , however, is an exercise in brevity (a fancy word for "shortness"). Pounbrevity (a fancy word for "shortness"). Pound wrote it after having a spiritual experiencd wrote it after having a spiritual experience in a Paris metro (subway) station.e in a Paris metro (subway) station.

In 1916, Pound wrote about the process of writIn 1916, Pound wrote about the process of writing the poem (Pound, Gaudier-Brzeska, 1916). ing the poem (Pound, Gaudier-Brzeska, 1916). Apparently, he originally thought he could besApparently, he originally thought he could best capture his vision in a painting. Unfortunatelt capture his vision in a painting. Unfortunately, he wasn’t a painter. Kind of a problem. So y, he wasn’t a painter. Kind of a problem. So he wrote a 30-line poem, which he didn’t like.he wrote a 30-line poem, which he didn’t like. He pitched the long version in the waste bin. He pitched the long version in the waste bin. Six months later, he wrote a shorter poem, but Six months later, he wrote a shorter poem, but didn’t like that one either and threw it away. didn’t like that one either and threw it away. Finally, a full year after the experience, he had Finally, a full year after the experience, he had been reading short Japanese poems called haibeen reading short Japanese poems called haikus, and he figured he would try to adapt this fkus, and he figured he would try to adapt this form to his vision in the metro. The result, whiorm to his vision in the metro. The result, which was published in 1913, is one the most famch was published in 1913, is one the most famous, influential, and haunting works in moderous, influential, and haunting works in modern poetry. n poetry.

Brief SummaryBrief Summary A man sees a bunch of faces in tA man sees a bunch of faces in t

he subway and thinks they look lhe subway and thinks they look like flowers on a tree branch.ike flowers on a tree branch.

Line-By-Line understandingLine-By-Line understanding Line 1Line 1 The apparition of these faces in the crowThe apparition of these faces in the crow

dd;; **The poet is watching faces appear in a cThe poet is watching faces appear in a c

rowded metro (subway) station.rowded metro (subway) station. (One wouldn’t know it only from readin(One wouldn’t know it only from readin

g the poem, but when one is in Paris, whig the poem, but when one is in Paris, which means that everyone looks really nice. ch means that everyone looks really nice. The beautiful French girls).The beautiful French girls).

**The poet is trying to get us to see things from hiThe poet is trying to get us to see things from his perspective, and the word "apparition" sugges perspective, and the word "apparition" suggests that the faces are becoming visible to him vsts that the faces are becoming visible to him very suddenly and probably disappearing just as ery suddenly and probably disappearing just as fast fast ((answer to question 1 on p188).answer to question 1 on p188). They alm They almost look like ghosts. If ever been in a crowded sost look like ghosts. If ever been in a crowded subway, then one is probably familiar with this ubway, then one is probably familiar with this phenomenon.phenomenon.

**By calling them "these faces," he puts the readBy calling them "these faces," he puts the reader right there in the metro station, as if he werer right there in the metro station, as if he were pointing his finger and saying, "Look!"e pointing his finger and saying, "Look!"

**The station must be pretty full, because there is The station must be pretty full, because there is a “crowd.”a “crowd.”

Line 2Line 2 Petals on a wet, black bough.Petals on a wet, black bough. **Although he doesn’t say so, the wordsAlthough he doesn’t say so, the words

"looks like" are implicit at the start of thi "looks like" are implicit at the start of this line. The faces in the crowd "look like" fs line. The faces in the crowd "look like" flower petals on a "wet, black bough."lower petals on a "wet, black bough."

**A "bough" is a big tree branch.A "bough" is a big tree branch. **When is a tree branch wet and black? PrWhen is a tree branch wet and black? Pr

obably at night, after the rain. A Paris suobably at night, after the rain. A Paris subway, on the other hand, is always wet abway, on the other hand, is always wet and black.nd black.

**Now, we’re going out on a limb here (pNow, we’re going out on a limb here (pun!), but he may be seeing the faces refleun!), but he may be seeing the faces reflected in a puddle over black asphalt. Or it cted in a puddle over black asphalt. Or it could just be a more general sense of wetcould just be a more general sense of wetness. At any rate, the faces in the subway ness. At any rate, the faces in the subway are being compared to flowers on a tree are being compared to flowers on a tree branch. branch. (answer to question 2 on p188)(answer to question 2 on p188)

**Another fact to keep in mind is that JapaAnother fact to keep in mind is that Japan is famous for its beautiful flowering trn is famous for its beautiful flowering trees, and considering that this poem is wrees, and considering that this poem is written in Japanese haiku style . . . well, heitten in Japanese haiku style . . . well, heck, he might just be thinking of a Japaneck, he might just be thinking of a Japanese tree.se tree.

Note: A haikuNote: A haiku in English typically has sev in English typically has seventeen syllables because it is modeled afteenteen syllables because it is modeled after the Japanese version. However, because r the Japanese version. However, because the Japanese language is so different from the Japanese language is so different from English, seventeen syllables in Japanese alEnglish, seventeen syllables in Japanese allows for less words and, thus, an even sholows for less words and, thus, an even shorter poem! rter poem!

A traditional haiku contains a word called A traditional haiku contains a word called a kigo that hints at the season of the year. a kigo that hints at the season of the year. The kigo of "In a Station of the Metro" is "pThe kigo of "In a Station of the Metro" is "petals" – it must be spring, because flowers etals" – it must be spring, because flowers are in bloom.are in bloom.

ThemesThemes *Versions of Reality*Versions of Reality *Man and the Natural World*Man and the Natural World *Modernization*Modernization *The Supernatural*The Supernatural

*Versions of Reality*Versions of Reality The poem blends two images into oThe poem blends two images into o

ne. In the process, it seems to downne. In the process, it seems to downplay the reality of everyday life as aplay the reality of everyday life as an "apparition," while the spiritual lifn "apparition," while the spiritual life of memory and the imagination is e of memory and the imagination is heightened. Pound thought that a grheightened. Pound thought that a great image could reveal the "higher" eat image could reveal the "higher" reality of something that already sereality of something that already seems real to us, like people getting oems real to us, like people getting on a subway.n a subway.

#"Apparition" (line 1)#"Apparition" (line 1) *Thought:*Thought: The word "apparition" ofte The word "apparition" ofte

n refers to the sudden and unexpecten refers to the sudden and unexpected appearance of something spooky and appearance of something spooky and supernatural, like a ghost or a phand supernatural, like a ghost or a phantom. Pound doesn’t directly call the tom. Pound doesn’t directly call the faces "apparitions"; he only uses the faces "apparitions"; he only uses the word to describe the way they seem tword to describe the way they seem to come and go in a flash. But the woro come and go in a flash. But the word makes the faces seem like ghosts frd makes the faces seem like ghosts from some other realm.om some other realm.

## "Petals on a wet, black bough" (line "Petals on a wet, black bough" (line 2)2)

Thought:Thought: Are the faces on the subwa Are the faces on the subway even faces at all? Maybe not. Pound y even faces at all? Maybe not. Pound uses the break between the first and uses the break between the first and second lines to create confusion over second lines to create confusion over two levels of reality – the reality of evtwo levels of reality – the reality of everyday things and the reality of spiriteryday things and the reality of spiritual visions. It may be that the faces rual visions. It may be that the faces really are petals, at least to this particeally are petals, at least to this particular observer.ular observer.

*Man and the Natural World*Man and the Natural World In the poem, people and nature literIn the poem, people and nature liter

ally become one as the faces in the sally become one as the faces in the subway become flowers on a tree. Thubway become flowers on a tree. The analogy between faces and flowers e analogy between faces and flowers is not just a simile, which would say is not just a simile, which would say that one thing is "like" another. Raththat one thing is "like" another. Rather, it is metaphor: the poem implies er, it is metaphor: the poem implies that the faces are petals on a tree. that the faces are petals on a tree.

#"Faces in the Crowd" (line 1)#"Faces in the Crowd" (line 1) Thought:Thought: The first line depicts as The first line depicts as

unnatural a setting as possible – a unnatural a setting as possible – a crowded subway station. Nowadacrowded subway station. Nowadays, people go on hiking and campiys, people go on hiking and camping trips to get away from things ling trips to get away from things like the subway. The people in the ke the subway. The people in the subway don’t even seem to have subway don’t even seem to have bodies; they are just anonymousbodies; they are just anonymous "faces." "faces."

#"Petals on a wet, black bough." (line #"Petals on a wet, black bough." (line 2)2)

Thought:Thought: The second line fuses the ima The second line fuses the image of the chaotic and stressful world of ge of the chaotic and stressful world of man to a peaceful and intense vision of man to a peaceful and intense vision of a flowering tree. The first line is kind of a flowering tree. The first line is kind of vague and imprecise, but the second livague and imprecise, but the second line puts the reader right there with natune puts the reader right there with nature. It has simple words that appeal to thre. It has simple words that appeal to the senses, like "petals," "wet," and "blace senses, like "petals," "wet," and "black." These words even sound tangible, lik." These words even sound tangible, like one could reach out and touch them.ke one could reach out and touch them.

*Modernization *Modernization If you were a person living in Paris near tIf you were a person living in Paris near t

he beginning of the 20th century, there he beginning of the 20th century, there would be a lot of reasons to be afraid of twould be a lot of reasons to be afraid of the metro. The crowd of anonymous strahe metro. The crowd of anonymous strangers pushing past one another, blank stngers pushing past one another, blank stares, the dirty wet ground. This poem, thares, the dirty wet ground. This poem, though, presents the new technology as though, presents the new technology as the scene of a mystical experience, in whice scene of a mystical experience, in which the poet and his readers are reminded h the poet and his readers are reminded of the serenity and calm of a Japanese gaof the serenity and calm of a Japanese garden. rden.

#"In a Station of the Metro" (title)#"In a Station of the Metro" (title) Thought:Thought: The title is really part of the poem. The title is really part of the poem.

Without the title, it would be impossible to knWithout the title, it would be impossible to know where the poem takes place. The title contaow where the poem takes place. The title contains a reference to a symbol of modern technolins a reference to a symbol of modern technology, the metro. On the other hand, we don’t fogy, the metro. On the other hand, we don’t find this reference anywhere else in the poem. ind this reference anywhere else in the poem. In this way, technology is "excluded" from the In this way, technology is "excluded" from the vision of the poem itself. The poem is not reallvision of the poem itself. The poem is not really about modernization; or, at least, not about y about modernization; or, at least, not about modernization as most writers have portrayed modernization as most writers have portrayed it – as a bleak, scary force that turns people intit – as a bleak, scary force that turns people into workaholic zombies. The poem shows how to workaholic zombies. The poem shows how the imagination proves to be the more powerfuhe imagination proves to be the more powerful force when faced with the technologies of mol force when faced with the technologies of modern life. dern life.

** The SupernaturalThe Supernatural One of the central mysteries of the poem iOne of the central mysteries of the poem i

s, why are the faces the poets sees an "apps, why are the faces the poets sees an "apparition"? This word usually refers to ghosts arition"? This word usually refers to ghosts or supernatural spirits. Pound seems to be or supernatural spirits. Pound seems to be comparing the beautiful strangers in the scomparing the beautiful strangers in the subway to ghosts who appear suddenly and ubway to ghosts who appear suddenly and then disappear from your life just as fast. then disappear from your life just as fast. You catch a glimpse and that’s it. Plus, thYou catch a glimpse and that’s it. Plus, the subway is underground, which could mae subway is underground, which could make a reader think of epics like the ke a reader think of epics like the AeneidAeneid, t, the he OdysseyOdyssey, and the, and the Inferno Inferno, which all incl, which all include journeys to the Underworld.ude journeys to the Underworld.

#"Apparition" (line 1)#"Apparition" (line 1) Thought:Thought: "Apparition" has traditionally b "Apparition" has traditionally b

een used to describe ghosts or phantoms,een used to describe ghosts or phantoms, but it can also just refer to a sudden app but it can also just refer to a sudden appearance of any kind. Now you see it, now earance of any kind. Now you see it, now you don’t. Pound takes advantage of thyou don’t. Pound takes advantage of these two uses of the word to confuse the rese two uses of the word to confuse the reader into thinking that the faces in the seader into thinking that the faces in the subway might be ghost-like. J.K. Rowling ubway might be ghost-like. J.K. Rowling does the same thing in thedoes the same thing in the Harry Potter Harry Potter s series by saying that characters can "Appaeries by saying that characters can "Apparate." rate."

Literary devices (techniqLiterary devices (technique)ue)

*Symbols, Imagery, Wordplay*Symbols, Imagery, Wordplay *Form and Meter*Form and Meter *Speaker Point of View*Speaker Point of View * the title* the title

** Symbols, Imagery, WordplaySymbols, Imagery, Wordplay #The Crowd of Faces#The Crowd of Faces Line 1:Line 1: The entire poem is basically a singl The entire poem is basically a singl

e metaphor. If you were ever confused aboe metaphor. If you were ever confused about the difference between a metaphor and ut the difference between a metaphor and a simile, and the difference it can make to a simile, and the difference it can make to use one instead of the other, this is a great use one instead of the other, this is a great poem to look at. Pound could have said thapoem to look at. Pound could have said that the faces "look like" flower petals, which t the faces "look like" flower petals, which would have produced a simile. By leaving twould have produced a simile. By leaving this expression out, the poem reads as if it his expression out, the poem reads as if it were saying that the faces are petals. A metwere saying that the faces are petals. A metaphor. The two images are fused into one.aphor. The two images are fused into one.

#The Bough#The Bough Line 2:Line 2: The success of the comparison betw The success of the comparison betw

een the human faces and the flower petals deen the human faces and the flower petals depends upon making the second image seeepends upon making the second image seem very life-like. So Pound uses some intensm very life-like. So Pound uses some intense natural imagery to describe the "wet, blace natural imagery to describe the "wet, black bough" to which the petals are attached. Tk bough" to which the petals are attached. This image connects to our sense of sight and his image connects to our sense of sight and touch, so the reader feels like he or she coultouch, so the reader feels like he or she could reach out and pluck the faces out of the scd reach out and pluck the faces out of the scene like a flower from a tree. He also uses sene like a flower from a tree. He also uses some alliteration with "black" and "bough," aome alliteration with "black" and "bough," as if the words on the page and the images in s if the words on the page and the images in our head were fusing together at the same tiour head were fusing together at the same time me

*Form and Meter *Form and Meter #Haiku#Haiku The poem is a variation on the JapanesThe poem is a variation on the Japanes

e form of the haiku, a very short poem e form of the haiku, a very short poem divided into three sections with a certaidivided into three sections with a certain number of syllables in each section. n number of syllables in each section. IIn English, haikus are often written as n English, haikus are often written as three-line poems. The first line has fithree-line poems. The first line has five syllables, the second seven, and thve syllables, the second seven, and the third five again. The haiku is really e third five again. The haiku is really short, but it packs a big punch.short, but it packs a big punch.

It’s hard to achieve the same effect It’s hard to achieve the same effect when writing in a language other thawhen writing in a language other than Japanese, which is probably why Pn Japanese, which is probably why Pound doesn’t follow strict rules in cound doesn’t follow strict rules in creating this short poem. For examplreating this short poem. For example, Pound’s poem has two long lines e, Pound’s poem has two long lines instead of three short ones. So, how instead of three short ones. So, how can it tell that the poem is a haiku? Fcan it tell that the poem is a haiku? For one thing, the Japanese version ofor one thing, the Japanese version often features a contrast between two ten features a contrast between two events or images; events or images;

Pound’s poem clearly contrasts the tPound’s poem clearly contrasts the two images of the faces in the crowd awo images of the faces in the crowd and the petals on the bough. The poem nd the petals on the bough. The poem attempts to fuse these images into onattempts to fuse these images into one. Second, the Japanese haiku usually e. Second, the Japanese haiku usually has a word that lets the reader know thas a word that lets the reader know the season of year. It’s not super-obvhe season of year. It’s not super-obvious, but Pound’s poem also has a wious, but Pound’s poem also has a word ("petals") to indicate the season – ord ("petals") to indicate the season – springtime – in which it takes place. springtime – in which it takes place.

*Speaker Point of View*Speaker Point of View Our speaker is more like a person wOur speaker is more like a person w

ho seems maddeningly peaceful anho seems maddeningly peaceful and meditative while riding the public d meditative while riding the public bus or subway. He's got his eyes clobus or subway. He's got his eyes closed, and takes deep, cleansing breatsed, and takes deep, cleansing breaths. His head sways gently back and hs. His head sways gently back and forth. forth.

His secret is that he reads a lot of AHis secret is that he reads a lot of Asian spiritual poetry, which has givsian spiritual poetry, which has given him an intense love for the rhyten him an intense love for the rhythms of nature. When we readers sehms of nature. When we readers see a bunch of faces crammed in a ste a bunch of faces crammed in a station, he sees beautiful petals. He sation, he sees beautiful petals. He sees the reality behind the reality. Hees the reality behind the reality. He has an intense imagination and the has an intense imagination and the patience to think about a single ie patience to think about a single image for a long time until he figuremage for a long time until he figures out exactly what it means. s out exactly what it means.

What's more amazing is that he caWhat's more amazing is that he can keep his cool while living in the n keep his cool while living in the big city. He doesn't have to go out big city. He doesn't have to go out into the forest or the countryside tinto the forest or the countryside to find natural beauty. He sees it alo find natural beauty. He sees it all around him. Even when the crowl around him. Even when the crowd jostles him around, he never getd jostles him around, he never gets angry or frustrated. Whatever hs angry or frustrated. Whatever he's having for breakfast, we want se's having for breakfast, we want some. ome.

*About the title*About the title Considering that the title is half as lConsidering that the title is half as l

ong as the entire poem, we might aong as the entire poem, we might as well put it under the microscope, s well put it under the microscope, as if it were part of the poem.as if it were part of the poem.

The title begins with a preposition:The title begins with a preposition: "In." This is the first sign that the p "In." This is the first sign that the poet means to put the reader, literalloet means to put the reader, literally, "in" his shoes. The reader is goiny, "in" his shoes. The reader is going to be down there, in the metro, sg to be down there, in the metro, seeing what he sees.eeing what he sees.

In a poem this short, every word is iIn a poem this short, every word is important, even articles like "a" andmportant, even articles like "a" and "the." The poem takes place in "a" s "the." The poem takes place in "a" station, but the poet isn’t going to ttation, but the poet isn’t going to tell us which one. (In fact, it was the ell us which one. (In fact, it was the station called "La Concorde," but Postation called "La Concorde," but Pound obviously didn’t feel that giviund obviously didn’t feel that giving the name would add anything to ng the name would add anything to the atmosphere of the poem.) It’s the atmosphere of the poem.) It’s meant to be vague; meant to be vague;

the situation is so common that it the situation is so common that it could be any station. But it can’t could be any station. But it can’t be any metro. There’s only one be any metro. There’s only one metro, "the" metro. Pound wants metro, "the" metro. Pound wants us to think like a Parisian, so we cus to think like a Parisian, so we can’t be confusing this metro witan’t be confusing this metro with, say, the New York Subway or thh, say, the New York Subway or the London Underground.e London Underground.

Pound could have just called the poem, "IPound could have just called the poem, "In a metro station," but he chose to make tn a metro station," but he chose to make the title longer. There are lots of reasons hhe title longer. There are lots of reasons he could have done this – it sounds really ce could have done this – it sounds really cool, for example – but another reason migool, for example – but another reason might be to highlight the word "station." A "staht be to highlight the word "station." A "station" is a stopping-place, a place where thition" is a stopping-place, a place where things stand still. ngs stand still. The poem itself is a kind oThe poem itself is a kind of station, because it freezes all the bustle f station, because it freezes all the bustle of the metro and the crowd into one lastof the metro and the crowd into one lasting image.ing image. So the title isn’t just referring So the title isn’t just referring to a place where subway trains stop; it’s to a place where subway trains stop; it’s also talking about how the poem works.also talking about how the poem works.

(Finally, there are the (Finally, there are the "Stations of t"Stations of the Cross"he Cross" from Christianity, which from Christianity, which are the prayers said to remember tare the prayers said to remember the stages of Christ’s journey carryhe stages of Christ’s journey carrying the cross on the way to his crucing the cross on the way to his crucifixion. Not to say that the metro is ifixion. Not to say that the metro is a place where people are crucified a place where people are crucified (we should hope not), but only that (we should hope not), but only that the experience described in the poethe experience described in the poem might have religious overtones. )m might have religious overtones. )