Eliot, T. S. - Ezra Pound- His Metric and Poetry[1]

8/13/2019 Eliot, T. S. - Ezra Pound- His Metric and Poetry[1]

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Title: Ezra Pound: His Metric and Poetry

7ut"or: T.S. Eliot

2elease )ate: 8anuary, 95 ;E%oo& #95<;es, e are (ore t"an one year a"ead o sc"edule<;T"is ile as irst !osted on 7!ril =, 9><

Edition: 3

?anguage: Englis"

"aracter set encoding: 7S++

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P2@0EB7, being !oe(s selected ro( Personae, E1ultations, andanzoniere. S(all, Maynard, %oston, 343F

THE SP+2+T @/ 2@M7BE: 7n atte(!t to deine so(e"at t"e c"ar(o t"e !rerenaissance literature o ?atinEuro!e. )ent,?ondon, 343 and )utton, Be or&F

THE S@BBETS 7B) %7??7TE @/ GA+)@ 707?7BT+. S(all, Maynard,%oston, 3439F

2+P@STES. Sit, ?ondon, 3439 and Mat"es, ?ondon, 343>F

)ES +M7G+STES: 7n ant"ology o t"e +(agists, Ezra Pound,7ldington, 7(y ?oell, /ord Maddo1 Hueer, and ot"ers

G7A)+E2%2DESC7: 7 (e(oir. 8o"n ?ane, ?ondon and Be or&,343=F

B@H: 7 study o t"e lassical Stage o 8a!an it" Ernest/enollosa. 7lred 7. Cno!, Be or&, 343 and Mac(illan,?ondon, 343F

?AST27 it" Earlier Poe(s. 7lred 7. Cno!, Be or&, 343F

P707BBES 7H) )+0+S+@BS. Prose. +n !re!aration: 7lred 7. Cno!, Be or&F

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*7ll tal& on (odern !oetry, by !eo!le "o &no,* rote Mr. arlSandburg in IPoetryI, *ends it" dragging in Ezra Poundso(e"ere. He (ay be na(ed only to be cursed as anton and(oc&er, !oseur, triler and $agrant. @r "e (ay be classed asilling a nic"e today li&e t"at o Ceats in a !receding e!oc".T"e !oint is, "e ill be (entioned.*

T"is is a si(!le state(ent o act. %ut t"oug" Mr. Pound is ell&non, e$en "a$ing been t"e $icti( o inter$ies or Sunday !a!ers, it does not ollo t"at "is or& is t"oroug"ly &non.T"ere are tenty !eo!le "o "a$e t"eir o!inion o "i( or e$eryone "o "as read "is ritings it" any care. @ t"ose tenty,t"ere ill be so(e "o are s"oc&ed, so(e "o are ruled, so(e"o are irritated, and one or to "ose sense o dignity isoutraged. T"e tentyirst critic ill !robably be one "o &nosand ad(ires so(e o t"e !oe(s, but "o eit"er says: *Pound is !ri(arily a sc"olar, a translator,* or *Pound's early $erse as beautiul "is later or& s"os not"ing better t"an t"e itc" or ad$ertise(ent, a (isc"ie$ous desire to be annoying, or ac"ildis" desire to be original.* T"ere is a t"ird ty!e o reader, rare enoug", "o "as !ercei$ed Mr. Pound or so(e years,"o "as olloed "is career intelligently, and "o recognizesits consistency.

T"is essay is not ritten or t"e irst tenty critics o literature, nor or t"at rare tentysecond "o "as just been(entioned, but or t"e ad(irer o a !oe( "ere or t"ere, "osea!!reciation is ca!able o yielding "i( a larger return. + t"ereader is already at t"e stage "ere "e can (aintain at once t"eto !ro!ositions, *Pound is (erely a sc"olar* and *Pound is(erely a yello journalist,* or t"e ot"er to !ro!ositions,*Pound is (erely a tec"nician* and *Pound is (erely a !ro!"et o c"aos,* t"en t"ere is $ery little "o!e. %ut t"ere are readers o !oetry "o "a$e not yet reac"ed t"is "y!ertro!"y o t"e logicalaculty t"eir attention (ig"t be arrested, not by an outbursto !raise, but by a si(!le state(ent. T"e !resent essay ai(s(erely at suc" a state(ent. +t is not intended to be eit"er a biogra!"ical or a critical study. +t ill not dilate u!on*beauties* it is a su((ary account o ten years' or& in !oetry. T"e citations ro( re$ies ill !er"a!s sti(ulate t"ereader to or( "is on o!inion. e do not is" to or( it or



"i(. Bor s"all e enter into ot"er !"ases o Mr. Pound'sacti$ity during t"is ten years "is ritings and $ies on artand (usic t"oug" t"ese ould ta&e an i(!ortant !lace in anyco(!re"ensi$e biogra!"y.

++

Pound's irst boo& as !ublis"ed in 0enice. 0enice as a "alting !oint ater "e "ad let 7(erica and beore "e "ad settled inEngland, and "ere, in 34J, *7 ?u(e S!ento* a!!eared. T"e$olu(e is no a rarity o literature it as !ublis"ed by t"eaut"or and (ade at a 0enetian !ress "ere t"e aut"or as able !ersonally to su!er$ise t"e !rinting on !a!er "ic" as are(ainder o a su!!ly "ic" "ad been used or a History o t"e"urc". Pound let 0enice in t"e sa(e year, and too& *7 ?u(eS!ento* it" "i( to ?ondon. +t as not to be e1!ected t"at airst boo& o $erse, !ublis"ed by an un&non 7(erican in 0enice,s"ould attract (uc" attention. T"e *E$ening Standard* "as t"edistinction o "a$ing noticed t"e $olu(e, in a re$ie su((ing itu! as:

ild and "aunting stu, absolutely !oetic, original, i(aginati$e, !assionate, and s!iritual. T"ose "o do not consider it crazy (ay ell consider it ins!ired. o(ing ater t"e trite and decorous $erse o (ost o our decorous !oets, t"is !oet see(s li&e a (instrel o Pro$ence at a suburban (usical e$ening.... T"e unseizable (agic o !oetry is in t"e Kueer !a!er $olu(e, and ords are no good in describing it.

7s t"e c"ie !oe(s in *7 ?u(e S!ento* ere aterardsincor!orated in *Personae,* t"e boo& de(ands (ention only as adate in t"e aut"or's "istory. *Personae,* t"e irst boo& !ublis"ed in ?ondon, olloed early in 344. /e !oets "a$eunderta&en t"e siege o ?ondon it" so little bac&ing e boo&so $erse "a$e e$er oed t"eir success so !urely to t"eir on(erits. Pound ca(e to ?ondon a co(!lete stranger, it"out eit"er literary !atronage or inancial (eans. He too& *Personae* to Mr.El&in Mat"es, "o "as t"e glory o "a$ing !ublis"ed eats'*ind 7(ong t"e 2eeds,* and t"e *%oo&s o t"e 2"y(ers' lub,* in"ic" (any o t"e !oets o t"e '4s, no a(ous, ound a !lace.Mr. Mat"es irst suggested, as as natural to an un&nonaut"or, t"at t"e aut"or s"ould bear !art o t"e cost o !rinting. *+ "a$e a s"illing in (y !oc&et, i t"at is any use to



you,* said t"e latter. *ell,* said Mr. Mat"es, *+ ant to !ublis" it anyay.* His acu(en as justiied. T"e boo& as, itis true, recei$ed it" o!!osition, but it as recei$ed. T"ereere a e a!!reciati$e critics, notably Mr. Edard T"o(as, t"e !oet &non also as *Edard Eastaay* "e "as since been &illed

in /ranceF. T"o(as, riting in t"e *Englis" 2e$ie* t"en in its brig"test days under t"e editors"i! o /ord Mado1 HueerF,recognized t"e irst"and intensity o eeling in *Personae*:

He "as ... "ardly any o t"e su!ericial good Kualities o (odern $ersiiers.... He "as not t"e current (elanc"oly or resignation or unillingness to li$e nor t"e &ind o eeling or nature "ic" runs to (inute descri!tion and decorati$e (eta!"or. He cannot be useully co(!ared it" any li$ing riters... ull o !ersonality and it" suc" !oer to e1!ress it, t"at ro( t"e irst to t"e last lines o (ost o "is !oe(s "e "olds us steadily in "is on !ure gra$e, !assionate orld.... T"e beauty o it +n Praise o soltF is t"e beauty o !assion, sincerity and intensity, not o beautiul ords and i(ages and suggestions ... t"e t"oug"t do(inates t"e ords and is greater t"an t"ey are. Here +dyll or GlaucusF t"e eect is ull o "u(an !assion and natural (agic, it"out any o t"e !"rases "ic" a reader o (odern $erse ould e1!ect in t"e treat(ent o suc" a subject.

Mr. Scott 8a(es, in t"e *)aily Bes,* s!ea&s in !raise o "is(etres:

7t irst t"e "ole t"ing (ay see( to be (ere (adness and r"etoric, a $ain e1"ibition o orce and !assion it"out beauty. %ut, as e read on, t"ese curious (etres o "is see( to "a$e a la and order o t"eir on t"e brute orce o Mr. Pound's i(agination see(s to i(!art so(e Kuality o inectious beauty to "is ords. So(eti(es t"ere is a strange beating o ana!aests "en "e Kuic&ens to "is subject again and again "e une1!ectedly ends a line it" t"e second "al o a re$erberant "e1a(eter:

*/les" s"rouded, bearing t"e secret.*

... 7nd a e lines later co(es an e1a(!le o "is a$ourite use o s!ondee, olloed by dactyl and s!ondee, "ic" co(es in strangely and, as e irst read it, it" t"e a!!earance o discord, but aterards see(s to gain a curious and distincti$e $igour:



*Eyes, drea(s, li!s, and t"e nig"t goes.*

7not"er line li&e t"e end o a "e1a(eter is

*%ut i e'er + co(e to (y lo$e's land.*

%ut e$en so a$ourable a critic !auses to re(ar& t"at

He bales us by arc"aic ords and una(iliar (etres "e oten see(s to be scorning t"e li(itations o or( and (etre, brea&ing out into any sort o e1!ression "ic" suits itsel to "is (ood.

and counsels t"e !oet to *"a$e a little (ore res!ect or "isart.*

+t is, in act, just t"is ada!tability o (etre to (ood,an ada!tability due to an intensi$e study o (etre, t"atconstitutes an i(!ortant ele(ent in Pound's tec"niKue. /ereaders ere !re!ared to acce!t or ollo t"e a(ount o erudition "ic" entered into *Personae* and its close successor,*E1ultations,* or to de$ote t"e care to reading t"e( "ic" t"eyde(and. +t is "ere t"at (any "a$e been led astray. Pound is notone o t"ose !oets "o (a&e no de(and o t"e reader and t"ecasual reader o $erse, disconcerted by t"e dierence beteenPound's !oetry and t"at on "ic" "is taste "as been trained,attributes "is on diiculties to e1cessi$e sc"olars"i! on t"e !art o t"e aut"or. *T"is,* "e ill say o so(e o t"e !oe(s inPro$encal or( or on Pro$encal subjects, *is arc"aeology itreKuires &noledge on t"e !art o its reader, and true !oetrydoes not reKuire suc" &noledge.* %ut to dis!lay &noledge isnot t"e sa(e t"ing as to e1!ect it on t"e !art o t"e readerand o t"is sort o !edantry Pound is Kuite ree. He is, it istrue, one o t"e (ost learned o !oets. +n 7(erica "e "ad ta&enu! t"e study o 2o(ance ?anguages it" t"e intention o teac"ing. 7ter or& in S!ain and +taly, ater !ursuing t"ePro$encal $erb ro( Milan to /reiburg, "e deserted t"e t"esison ?o!e de 0ega and t"e P".). and t"e !roessorial c"air,and elected to re(ain in Euro!e. Mr. Pound "as s!o&en out"is (ind ro( ti(e to ti(e on t"e subject o sc"olars"i! in7(erican uni$ersities, its deadness, its isolation ro( genuinea!!reciation, and t"e acti$e creati$e lie o literature. He "asalays been ready to battle against !edantry. 7s or "is onlearning, "e "as studied !oetry careully, and "as (ade use o "is study in "is on $erse. *Personae* and *E1ultations*s"o "is talent or turning "is studies to account. He assu!ersaturated in Pro$ence "e "ad tra(!ed o$er (ost o t"e



country and t"e lie o t"e courts "ere t"e Troubadourst"ronged as !art o "is on lie to "i(. et, t"oug" *Personae*and *E1ultations* do e1act so(et"ing ro( t"e reader, t"ey donot reKuire a &noledge o Pro$encal or o S!anis" or +talian.0ery e !eo!le &no t"e 7rt"urian legends ell, or e$en Malory

i t"ey did t"ey (ig"t realize t"at t"e +dylls o t"e Cing are"ardly (ore i(!ortant t"an a !arody, or a *"aucer retold or "ildren*F but no one accuses Tennyson o needing ootnotes, or o su!erciliousness toard t"e uninstructed. T"e dierence is(erely in "at !eo!le are !re!ared or (ost readers could no(ore relate t"e (yt" o 7tys correctly t"an t"ey could gi$e a biogra!"y o %ertrand de %orn. +t is "ardly too (uc" to say t"att"ere is no !oe( in t"ese $olu(es o Mr. Pound "ic" needsuller e1!lanation t"an "e gi$es "i(sel. "at t"e !oe(s doreKuire is a trained ear, or at least t"e illingness to betrained.

T"e (etres and t"e use o language are una(iliar. T"ere arecertain traces o (odern inluence. e cannot agree it" Mr.Scott8a(es t"at a(ong t"ese are *. E. Henley, Ci!ling,"atterton, and es!ecially alt "it(an*least o all alt"it(an. Probably t"ere are only to: eats and %roning. eatsin *?a /raisne,* in *Personae,* or instance, in t"e attitudeand so(e"at in t"e $ocabulary:

+ ra!!ed (y tears in an ellu( lea 7nd let t"e( under a stone, 7nd no (en call (e (ad because + "a$e t"ron 7ll olly ro( (e, !utting it aside To lea$e t"e old barren ays o (en ...

/or %roning, Mr. Pound "as alays !roessed strong ad(irationsee *Mes(eris(* in *Personae*F t"ere are traces o "i( in*ino* and */a(a( ?ibrosKue ano,* in t"e sa(e $olu(e. %ut it is(ore !roitable to co((ent u!on t"e $ariety o (etres and t"eoriginal use o language.

Ezra Pound "as been at"ered it" $ers libre in Englis", it"all its $ices and $irtues. T"e ter( is a loose oneany $erse iscalled *ree* by !eo!le "ose ears are not accusto(ed to itint"e second !lace, Pound's use o t"is (ediu( "as s"on t"ete(!erance o t"e artist, and "is belie in it as a $e"icle isnot t"at o t"e anatic. He "as said "i(sel t"at "en one "ast"e !ro!er (aterial or a sonnet, one s"ould use t"e sonnetor( but t"at it "a!!ens $ery rarely to any !oet to ind"i(sel in !ossession o just t"e bloc& o stu "ic" can !erectly be (odelled into t"e sonnet. +t is true t"at u! to



$ery recently it as i(!ossible to get ree $erse !rinted in any !eriodical e1ce!t t"ose in "ic" Pound "ad inluence andt"at no it is !ossible to !rint ree $erse second, t"ird, or tent"rateF in al(ost any 7(erican (agazine. "o is res!onsibleor t"e bad ree $erse is a Kuestion o no i(!ortance, inas(uc"

as its aut"ors ould "a$e ritten bad $erse in any or( Pound"as at least t"e rig"t to be judged by t"e success or ailure o "is on. Pound's $ers libre is suc" as is only !ossible or a !oet "o "as or&ed tirelessly it" rigid or(s and dierentsyste(s o (etric. His *anzoni* are in a ay aside ro( "isdirect line o !rogress t"ey are (uc" (ore nearly studies in(ediae$al a!!reciation t"an any o "is ot"er $erse but t"ey areinteresting, a!art ro( t"eir (erit, as s"oing t"e !oet at or& it" t"e (ost intricate Pro$encal or(sso intricate t"at t"e !attern cannot be e1"ibited it"out Kuoting an entire !oe(. M.8ean de %ossc"ere, "ose /renc" is translated in t"e *Egoist,*"as already called attention to t"e act t"at Pound as t"eirst riter in Englis" to use i$e Pro$encal or(s.F Luotationill s"o, "oe$er, t"e great $ariety o r"yt"( "ic" Pound(anages to introduce into t"e ordinary ia(bic !enta(eter:

T"y gracious ays, @ lady o (y "eart, "a$e @'er all (y t"oug"t t"eir golden gla(our cast 7s a(ber torc"la(es, "ere strange (enatar(s Tread sotly 'neat" t"e da(as& s"ield o nig"t, 2ise ro( t"e loing steel in !art relected, So on (y (ailed t"oug"t t"at it" t"ee goet", T"oug" dar& t"e ay, a golden gla(our allet".

it"in t"e ia(bic li(its, t"ere are no to lines in t"e "ole !oe( t"at "a$e an identical r"yt"(.

e turn ro( t"is to a !oe( in *E1ultations,* t"e *Big"t?itany*:

@ God, "at great &indness "a$e e done in ti(es !ast and orgotten it, T"at t"ou gi$est t"is onder unto us, @ God o aters

@ God o t"e nig"t "at great sorro o(et" unto us, T"at t"ou t"us re!ayest us %eore t"e ti(e o its co(ing



T"ere is e$ident, and (ore strongly in certain later !oe(s, atendency toard Kuantitati$e (easure. Suc" a *reedo(* as t"islays so "ea$y a burden u!on e$ery ord in a line t"at it beco(esi(!ossible to rite li&e S"elley, lea$ing blan&s or t"e

adjecti$es, or li&e Sinburne, "ose adjecti$es are !ractically blan&s. @t"er !oets "a$e (ani!ulated a great $ariety o (etresand or(s but e "a$e studied t"e or(s and (etres "ic" t"eyuse so careully as "as Pound. His ballad o t"e *Goodly /ere*s"os great &noledge o t"e ballad or(:

+ "a' seen "i( co a t"ousand (en @n t"e "ills o' Galilee, T"ey "ined as "e al&ed out cal( beteen i' "is eyes li&e t"e grey o' t"e sea.

?i&e t"e sea t"at broo&s no $oyaging it" t"e inds unleas"ed and ree, ?i&e t"e sea t"at "e coed at Genseret i' tey ords s!o&e suddently.

7 (aster o (en as t"e Goodly /ere 7 (ate o t"e ind and sea, + t"ey t"in& t"ey "a' slain our Goodly /ere T"ey are ools eternally.

+ "a' seen "i( eat o' t"e "oneyco(b Sin' t"ey nailed "i( to t"e tree.

7nd ro( t"is e turn to a $ery dierent or( in t"e*7ltaorte,* "ic" is !er"a!s t"e best sestina t"at "as been ritten in Englis":

)a(n it all6 all t"is our Sout" stin&s !eace. ou "oreson dog, Pa!iols, co(e6 let's to (usic6 + "a$e no lie sa$e "en t"e sords clas". %ut a"6 "en + see t"e standards gold, $air, !ur!le, o!!osing, 7nd t"e broad ields beneat" t"e( turn cri(son, T"en "ol + (y "eart nig" (ad it" rejoicing.

+n "ot su((er "a$e + great rejoicing "en t"e te(!ests &ill t"e eart"'s oul !eace, 7nd t"e lig"tnings ro( blac& "ea$en las" cri(son, 7nd t"e ierce t"unders roar (e t"eir (usic 7nd t"e inds s"rie& t"roug" t"e clouds (ad, o!!osing, 7nd t"roug" all t"e ri$en s&ies God's sords clas".



+ "a$e Kuoted to $erses to s"o t"e intricacy o t"e !attern.

T"e Pro$encal canzon, li&e t"e Elizabet"an lyric, as rittenor (usic. Mr. Pound "as (ore recently insisted, in a series o articles on t"e or& o 7rnold )ol(etsc", in t"e *Egoist,* on

t"e i(!ortance o a study o (usic or t"e !oet.

- - - - -

Suc" a relation beteen !oetry and (usic is $ery dierent ro("at is called t"e *(usic* o S"elley or Sinburne, a (usicoten nearer to r"etoric or t"e art o t"e oratorF t"an to t"einstru(ent. /or !oetry to a!!roac" t"e condition o (usicPound Kuotes a!!ro$ingly t"e dictu( o PaterF it is notnecessary t"at !oetry s"ould be destitute o (eaning. +nstead o slig"tly $eiled and resonant abstractions, li&e

Ti(e it" a git o tears, Grie it" a glass t"at ran

o Sinburne, or t"e (ossiness o Mallar(e, Pound's $erse isalays deinite and concrete, because "e "as alays a deinitee(otion be"ind it.

T"oug" +'$e roa(ed t"roug" (any !laces, Bone t"ere is t"at (y "eart troet" /air as t"at "erein air groet" @ne "ose laud "ere interlaces Tuneul ords, t"at +'$e essayed. ?et t"is tune be gently !layed "ic" (y $oice "erard u!raises.

7t t"e end o t"is !oe( t"e aut"or a!!ends t"e note:

T"e or( and (easure are t"ose o Piere 0idal's *I7b l'alen tir $as (e l'aireI.* T"e song is it only to be sung, and is not to be s!o&en.

T"ere are, "ere and t"ere, deliberate arc"ais(s or odditiese.g., *"erard*F t"ere are deliberately arbitrary i(ages,"a$ing t"eir !lace in t"e total eect o t"e !oe(:

2ed lea t"at art blon u!ard and out and o$er T"e green s"ea o t"e orld ...

T"e lotos t"at !ours



Her ragrance into t"e !ur!le cu! ...

%lac& lig"tning ... in a (ore recent !oe(F

but no ord is e$er c"osen (erely or t"e tin&le eac" "as

alays its !art in !roducing an i(!ression "ic" is !roducedalays t"roug" language. ords are !er"a!s t"e "ardest o all (aterial o art: or t"ey (ust be used to e1!ress bot"$isual beauty and beauty o sound, as ell as co((unicatinga gra((atical state(ent. +t ould be interesting to co(!arePound's use o i(ages it" Mallar(e's + t"in& it ill be oundt"at t"e or(er's, by t"e contrast, ill a!!ear alays s"ar! inoutline, e$en i arbitrary and not !"otogra!"ic. Suc" i(ages ast"ose Kuoted abo$e are as !recise in t"eir ay as

Sur le Boel, (orte saison, ?orsKue les lou!s $i$ent de $ent ...

and t"e rest o t"at (e(orable Testa(ent.

So (uc" or t"e i(agery. 7s to t"e *reedo(* o "is $erse, Pound"as (ade se$eral state(ents in "is articles on )ol(etsc" "ic"are to t"e !oint:

7ny or& o art is a co(!ound o reedo( and order. +t is !erectly ob$ious t"at art "angs beteen c"aos on t"e one side and (ec"anics on t"e ot"er. 7 !edantic insistence u!on detail tends to dri$e out *(ajor or(.* 7 ir( "old on (ajor or( (a&es or a reedo( o detail. +n !ainting (en intent on (inutiae gradually lost t"e sense o or( and or( co(bination. 7n atte(!t to restore t"is sense is branded as *re$olution.* +t is re$olution in t"e !"ilological sense o t"e ter(....

7rt is a de!arture ro( i1ed !ositions elicitous de!arture ro( a nor(....

T"e reedo( o Pound's $erse is rat"er a state o tension due toconstant o!!osition beteen ree and strict. T"ere are not, as a(atter o act, to &inds o $erse, t"e strict and t"e reet"ere is only a (astery "ic" co(es o being so ell trainedt"at or( is an instinct and can be ada!ted to t"e !articular !ur!ose in "and.

- - - - -

7ter *E1ultations* ca(e t"e translation o t"e *Sonnets and



%allate o Guido a$alcanti.* +t is ort" noting t"at t"e riter o a long re$ie in t"e *ILuestI*s!ea&ing in !raise o t"etranslation, yet ound ault it" t"e aut"or not on t"e groundo e1cessi$e (ediae$alis(, but because

"e is concerned rat"er it" t"e uture t"an it" a so(e"at re(ote !ast, so t"at in s!ite o "is lo$e or t"e (ediae$al !oets, "is $ery acco(!lis"(ent as a distinctly (odern !oet (a&es against "is success as a "olly acce!table translator o a$alcanti, t"e "eir o t"e Troubadours, t"e sc"olastic.

et t"e I)aily BesI, in criticising *anzoni,* "ad re(ar&edt"at Mr. Pound

see(s to us rat"er a sc"olar t"an a !oet, and e s"ould li&e to see "i( gi$ing "is unusual talent (ore to direct translation ro( t"e Pro$encal.

and Mr. 8. . SKuire no t"e literary editor o t"e IBeStates(anIF, in an a!!reciati$e re$ie in t"e IBe 7geI, "adcounselled t"e !oet t"at "e ould

gain and not lose i "e could orget all about t"e !oets o )ante's day, t"eir roses and t"eir la(es, t"eir gold and t"eir alcons, and t"eir literary a(orousness, and al& out o t"e library into t"e res" air.

+n *2i!ostes* t"ere are traces o a dierent idio(.Su!ericially, t"e or& (ay a!!ear less i(!ortant. T"e dictionis (ore restrained, t"e lig"ts s"orter, t"e de1terity o tec"niKue is less arresting. %y ro(antic readers t"e boo& ould be considered less *!assionate.* %ut t"ere is a (uc" (ore solidsubstratu( to t"is boo& t"ere is (ore t"oug"t greater de!t",i less agitation on t"e surace. T"e eect o ?ondon isa!!arent t"e aut"or "as beco(e a critic o (en, sur$eying t"e(ro( a consistent and de$elo!ed !oint o $ie "e is (oreor(idable and disconcerting in s"ort, (uc" (ore (ature.T"at "e abandons not"ing o "is tec"nical s&ill is e$ident ro(t"e translation ro( t"e 7ngloSa1on, t"e *Seaarer.* +t isnot a slig"t ac"ie$e(ent to "a$e broug"t to lie alliterati$e$erse: !er"a!s t"e *Seaarer* is t"e only successul !iece o alliterati$e $erse e$er ritten in (odern Englis" alliterati$e$erse "ic" is not (erely a cle$er tour de orce, but "ic"suggests t"e !ossibility o a ne de$elo!(ent o t"is or(. Mr.2ic"ard 7ldington "ose on acco(!lis"(ents as a riter o $erslibre Kualiy "i( to s!ea&F called t"e !oe( *unsur!assed andunsur!assable,* and a riter in t"e IBe 7geI a literary organ



"ic" "as alays been strongly o!!osed to (etrical inno$ationsFcalled it *one o t"e inest literary or&s o art !roduced inEngland during t"e last ten years.* 7nd t"e roug", stern beautyo t"e 7ngloSa1on, e (ay re(ar&, is at t"e o!!osite !ole ro(t"at o t"e Pro$encal and +talian !oets to "o( Pound "ad

!re$iously de$oted "is attention.

May + or (y on sel song's trut" rec&on, 8ourney's jargon, "o + in "ars" days Hards"i! endured ot.

%ut e can notice in *2i!ostes* ot"er e$idences t"an o $ersatility only certain !oe(s s"o Mr. Pound turning to (ore(odern subjects, as in t"e *Portrait d'une e((e,* or t"e(ordant e!igra(, *7n @bject.* Many readers are a!t to conuset"e (aturing o !ersonality it" desiccation o t"e e(otions.T"ere is no desiccation in *2i!ostes.* T"is s"ould be e$ident toanyone "o reads careully suc" a !oe( as *7 Girl.* e Kuote itentire it"out co((ent.

T"e tree "as entered (y "ands, T"e sa! "as ascended (y ar(s, T"e tree "as gron in (y breast )onard, T"e branc"es gro out o (e, li&e ar(s.

Tree you are, Moss you are, ou are $iolets it" ind abo$e t"e(. 7 c"ildIsoI "ig"you are, 7nd all t"is is olly to t"e orld.

*T"e 2eturn* is an i(!ortant study in $erse "ic" is reallyKuantitati$e. e Kuote only a e lines:

See, t"ey return a", see t"e tentati$e Mo$e(ents, and t"e slo eet, T"e trouble in t"e !ace and t"e uncertain a$ering6

*2i!ostes* belongs to t"e !eriod "en Mr. Pound as beingattac&ed because o "is !ro!aganda. He beca(e &non as t"ein$entor o *+(agis(,* and later, as t"e *Hig" Priest o 0orticis(.* 7s a (atter o act, t"e actual *!ro!aganda* o Mr.Pound "as been $ery s(all in Kuantity. T"e i(!ression "ic" "is !ersonality (ade, "oe$er, is suggested by t"e olloing note in*IPunc"I,* "ic" is alays a !retty reliable baro(eter o t"e



Englis" (iddleclass Grin:

Mr. el&in Mar& e1actly o!!osite ?ong 8ane'sF begs to announce t"at "e "as secured or t"e Englis" (ar&et t"e !al!itating or&s o t"e ne Montana A.S.7.F !oet, Mr.

Eze&iel Ton, "o is t"e (ost re(ar&able t"ing in !oetry since 2obert %roning. Mr. Ton, "o "as let 7(erica to reside or a "ile in ?ondon and i(!ress "is !ersonality on Englis" editors, !ublis"ers and readers, is by ar t"e neest !oet going, "ate$er ot"er ad$ertise(ents (ay say. He "as succeeded, "ere all ot"ers "a$e ailed, in e$ol$ing a blend o t"e i(agery o t"e unettered est, t"e $ocabulary o ardour Street, and t"e sinister abandon o %orgiac +taly.

+n 343>, so(eone riting to t"e Be or& IBationI ro( t"eAni$ersity o +llinois, illustrates t"e 7(erican, (ore serious,disa!!ro$al. T"is riter begins by e1!ressing "is objections tot"e *!rinci!le o /uturis(.* Pound "as !er"a!s done (ore t"ananyone to &ee! /uturis( out o England. His antagonis( to t"is(o$e(ent as t"e irst "ic" as not due (erely to unintelligentdisli&e or anyt"ing ne, and as due to "is !erce!tion t"at/uturis( as inco(!atible it" any !rinci!les o or(. +n "ison ords, /uturis( is *accelerated i(!ressionis(.*F T"e riter in t"e IBationI t"en goes on to analyze t"e (odern *"y!ertro!"yo ro(anticis(* into

T"e e1aggeration o t"e i(!ortance o a !ersonal e(otion. T"e abandon(ent o all standards o or(. T"e su!!ression o all e$idence t"at a !articular co(!osition is ani(ated by any directing intelligence.

7s or t"e irst !oint, "ere are Mr. Pound's ords in anser tot"e Kuestion, *do you agree t"at t"e great !oet is ne$er e(otional*

es, absolutely i by e(otion is (eant t"at "e is at t"e (ercy o e$ery !assing (ood.... T"e only &ind o e(otion ort"y o a !oet is t"e ins!irational e(otion "ic" energises and strengt"ens, and "ic" is $ery re(ote ro( t"e e$eryday e(otion o slo!!iness and senti(ent....

7nd as or t"e !lator( o +(agis(, "ere are a e o Pound's*)on'ts or +(agists*:

Pay no attention to t"e criticis(s o (en "o "a$e ne$er t"e(sel$es ritten a notable or&.



Ase no su!erluous ord and no adjecti$e "ic" does not re$eal so(et"ing.

Go in ear o abstractions. )on't retail in (ediocre $erse

"at "as already been done in good !rose.

)on't i(agine t"at t"e art o !oetry is any si(!ler t"an t"e art o (usic or t"at you can !lease t"e e1!ert beore you "a$e s!ent at least as (uc" eort on t"e art o $erse as t"e a$erage !iano teac"er s!ends on t"e art o (usic.

%e inluenced by as (any great artists as you can, but "a$e t"e decency eit"er to ac&noledge t"e debt outrig"t or try to conceal it.

onsider t"e deiniteness o )ante's !resentation as co(!ared it" Milton's. 2ead as (uc" o ordsort" as does not see( to be unutterably dull.

+ you ant t"e gist o t"e (atter go to Sa!!"o, atullus, 0illon "en "e is in t"e $ein, Gautier "en "e is not too rigid, or i yon "a$e not t"e tongues see& out t"e leisurely "aucer.

Good !rose ill do you no "ar(. T"ere is good disci!line to be "ad by trying to rite it. Translation is also good training.

T"e e(!"asis "ere is certainly on disci!line and or(. T"e"icago ITribuneI recognized t"is as *sound sense,* adding:

+ t"is is +(agis( ... e are or establis"ing +(agis( by constitutional a(end(ent and i(!risoning it"out recourse to in& or !a!er all *literary* ladies or gents "o brea& any o t"ese canons.

%ut ot"er re$ieers ere less a!!ro$ing. "ile t"e riter in t"e IBationI, Kuoted abo$e, dreads t"e anarc"y i(!ending, Mr.illia( 7rc"er as terriied at t"e !ros!ect o "ieraticor(alisation. Mr. 7rc"er belie$es in t"e si(!le untaug"t (use:

Mr. Pound's co((and(ents tend too (uc" to (a&e o !oetry a learned, selconscious crat, to be culti$ated by a guild o ade!ts, ro( "ose austere laboratories s!ontaneity and si(!licity are e1cluded.... 7 great deal o t"e best !oetry in t"e orld "as $ery little tec"nical study be"ind it....



T"ere are scores and "undreds o !eo!le in England "o could rite t"is si(!le (etre i.e. o *7 S"ro!s"ire ?ad*F successully.

To be "anged or a cat and droned or a rat is, !er"a!s,

suicient e1cul!ation.

Probably Mr. Pound "as on odiu( not so (uc" by "is t"eories as by "is unstinted !raise o certain conte(!orary aut"ors "oseor& "e "as li&ed. Suc" e1!ressions o a!!ro$al are usuallyta&en as a grie$ance(uc" (ore so t"an any !ersonal abuse,"ic" is co(!arati$ely a co(!li(entby t"e riters "o esca!e"is (ention. He does not say *7., %., and . are bad !oets or no$elists,* but "en "e says *T"e or& o N., ., and D. is insuc" and suc" res!ects t"e (ost i(!ortant or& in $erse or !roseF since so and so,* t"en 7., %., and . are aggrie$ed.7lso, Pound "as reKuently e1!ressed disa!!ro$al o Milton andordsort".

7ter *2i!ostes,* Mr. Pound's idio( "as ad$anced still art"er.+nas(uc" as *at"ay,* t"e $olu(e o translations ro( t"e"inese, a!!eared !rior to *?ustra,* it is so(eti(es t"oug"tt"at "is neer idio( is due to t"e "inese inluence. T"is isal(ost t"e re$erse o t"e trut". T"e late Ernest /enollosa leta Kuantity o (anuscri!ts, including a great nu(ber o roug"translations literally e1actF ro( t"e "inese. 7ter certain !oe(s subseKuently incor!orated in *?ustra* "ad a!!eared in*Poetry,* Mrs. /enollosa recognized t"at in Pound t"e "inese(anuscri!ts ould ind t"e inter!reter "o( "er "usband ould"a$e is"ed s"e accordingly orarded t"e !a!ers or "i( to doas "e li&ed it". +t is t"us due to Mrs. /enollosa's acu(en t"ate "a$e *at"ay* it is not as a conseKuence o *at"ay* t"at e"a$e *?ustra.* T"is act (ust be borne in (ind.

Poe(s aterard e(bodied in *?ustra* a!!eared in *Poetry,* in7!ril, 343>, under t"e title o *onte(!oranea.* T"ey includeda(ong ot"ers *Tenzone,* *T"e ondolence,* *T"e Garret,**Salutation t"e Second,* and *)ance /igure.*

T"ere are inluences, but de$iously. +t is rat"er a gradualde$elo!(ent o e1!erience into "ic" literary e1!eriences "a$eentered. T"ese "a$e not broug"t t"e bondage o te(!oraryent"usias(s, but "a$e liberated t"e !oet ro( "is or(er restricted s!"ere. T"ere is atullus and Martial, Gautier,?aorgue and Tristan orbiere. "it(an is certainly not aninluence t"ere is not a trace o "i( any"ere "it(an and Mr.Pound are anti!odean to eac" ot"er. @ *onte(!oranea* t"e



I"icago E$ening PostI discri(inatingly obser$ed:

our !oe(s in t"e 7!ril IPoetryI are so (oc&ingly, so delicately, so unblus"ingly beautiul t"at you see( to "a$e broug"t bac& into t"e orld a grace "ic" !robablyF ne$er

e1isted, but "ic" e disco$er by an i(aginati$e !rocess in Horace and atullus.

+t as a true insig"t to ally Pound to t"e ?atin, not to t"eGree& !oets.

ertain o t"e !oe(s in *?ustra* "a$e oended ad(irers o t"e$erse o t"e *Personae* !eriod. "en a !oet alters or de$elo!s,(any o "is ad(irers are sure to dro! o. 7ny !oet, i "e is tosur$i$e as a riter beyond "is tentyit" year, (ust alter "e(ust see& ne literary inluences "e ill "a$e dierente(otions to e1!ress. T"is is disconcerting to t"at !ublic "ic"li&es a !oet to s!in "is "ole or& out o t"e eelings o "isyout" "ic" li&es to be able to o!en a ne $olu(e o "is !oe(sit" t"e assurance t"at t"ey ill be able to a!!roac" it e1actlyas t"ey a!!roac"ed t"e !receding. T"ey do not li&e t"at constantreadjust(ent "ic" t"e olloing o Mr. Pound's or& de(ands.T"us "as *?ustra* been a disa!!oint(ent to so(e t"oug" it(aniests no alling o in tec"niKue, and no i(!o$eris"(ento eeling. So(e o t"e !oe(s including se$eral o t"e*onte(!oranea*F are a (ore direct state(ent o $ies t"anPound's $erse "ad e$er gi$en beore. @ t"ese !oe(s, M. 8ean de%ossc"ere rites:

E$ery"ere "is !oe(s incite (an to e1ist, to !roess a beco(ing egotis(, it"out "ic" t"ere can be no real altruis(.

+ beseec" you enter your lie. + beseec" you learn to say *+* "en + Kuestion you. /or you are no !art, but a "ole Bo !ortion, but a being.

... @ne (ust be ca!able o reacting to sti(uli or a (o(ent, as a real, li$e !erson, e$en in ace o as (uc" o one's on !oers as are arrayed against one... T"e $irile co(!laint, t"e re$olt o t"e !oet, all "ic" s"os "is e(otion,t"at is !oetry.

S!ea& against unconscious o!!ression, S!ea& against t"e tyranny o t"e uni(aginati$e,



S!ea& against bonds.

%e against all or(s o o!!ression, Go out and dey o!inion.

T"is is t"e old cry o t"e !oet, but (ore !recise, as an e1!ression o ran& disgust:

Go to t"e adolescent "o are s(ot"ered in a(ily. @, "o "ideous it is To see t"ree generations o one "ouse gat"ered toget"er6 +t is li&e an old tree it"out s"oots, 7nd it" so(e branc"es rotted and alling.

Eac" !oe( "olds out t"ese cries o re$olt or disgust, but t"ey are t"e result o "is still "o!ing and eeling:

?et us ta&e ar(s against t"is sea o stu!idities. Pound ... "as e1!erience o t"e olly o t"e P"ilistines "o read "is $erse. 2eal !ain is born o t"is stu!id inter!retation, and one does not realize "o dee! it is unless one can eel, t"roug" t"e ejaculations and t"e laug"ter, "at "as caused t"ese ounds, "ic" are (ade dee!er by "at "e &nos, and "at "e "as lost....

T"e tone, "ic" is at once jocund and &een, is one o Pound's Kualities. @$id, atullus"e does not dison t"e(. He only uses t"ese accents or "is a(iliars it" t"e ot"ers "e is on t"e edge o !arado1, !a(!"leteering, indeed o abuse....

T"is is t"e !ro!er a!!roac" to t"e !oe(s at t"e beginning o *?ustra,* and to t"e s"ort e!igra(s, "ic" so(e readers ind*!ointless,* or certainly *not !oetry.* T"ey s"ould read, t"en,t"e *)ance /igure,* or *Bear Perigord,* and re(e(ber t"at allt"ese !oe(s co(e out o t"e sa(e (an.

T"ine ar(s are as a young sa!ling under t"e bar& T"y ace as a ri$er it" lig"ts.

"ite as an al(ond are t"y s"oulders 7s ne al(onds stri!!ed ro( t"e "us&.

@r t"e ending o *Bear Perigord*:

%eildering s!ring, and by t"e 7u$ezere Po!!ies and day'seyes in t"e green e(ail



2ose o$er us and e &ne all t"at strea(, 7nd our to "orses "ad traced out t"e $alleys Cne t"e lo looded lands sKuared out it" !o!lars, +n t"e young days "en t"e dee! s&y beriended. 7nd great ings beat abo$e us in t"e tilig"t,

7nd t"e great "eels in "ea$en %ore us toget"er ... surging ... and a!art ... %elie$ing e s"ould (eet it" li!s and "ands ...

T"ere s"ut u! in "is castle, Tairiran's, S"e "o "ad nor ears nor tongue sa$e in "er "ands, Gone, a", goneuntouc"ed, unreac"able6 S"e "o could ne$er li$e sa$e t"roug" one !erson, S"e "o could ne$er s!ea& sa$e to one !erson, 7nd all t"e rest o "er a s"iting c"ange, 7 bro&en bundle o (irrors...6

T"en turn at once to *To a /riend riting on abaret )ancers.*

+t is easy to say t"at t"e language o *at"ay* is due to t"e"inese. + one loo&s careully at 3F Pound's ot"er $erse, 9Fot"er !eo!le's translations ro( t"e "inese e.g., Giles'sF, itis e$ident t"at t"is is not t"e case. T"e language as ready or t"e "inese !oetry. o(!are, or instance, a !assage ro(*Pro$incia )eserta*:

+ "a$e al&ed into Perigord + "a$e seen t"e torc"la(es, "ig"lea!ing, Painting t"e ront o t"at c"urc", 7nd, under t"e dar&, "irling laug"ter, + "a$e loo&ed bac& o$er t"e strea( and seen t"e "ig" building, Seen t"e long (inarets, t"e "ite s"ats. + "a$e gone in 2ibeyrac, and in Sarlat. + "a$e cli(bed ric&ety stairs, "eard tal& o roy, al&ed o$er En %ertran's old layout, Ha$e seen Barbonne, and a"ors and "alus, Ha$e seen E1cideuil, careully as"ioned.

it" a !assage ro( *T"e 2i$er Song*:

He goes out to Hori, to loo& at t"e ingla!!ing stor&s, He returns by ay o Sei roc&, to "ear t"e ne nig"tingales, /or t"e gardens at 8orun are ull o ne nig"tingales,



T"eir sound is (i1ed in t"is lute, T"eir $oice is in t"e tel$e !i!es "ere.

+t (atters $ery little "o (uc" is due to 2i"a&u and "o (uc" toPound. Mr. /ord Mado1 Hueer "as obser$ed: *+ t"ese are

original $erses, t"en Mr. Pound is t"e greatest !oet o t"isday.* He goes on to say:

T"e !oe(s in *at"ay* are t"ings o a su!re(e beauty. "at !oetry s"ould be, t"at t"ey are. 7nd i a ne breat" o i(agery and "andling can do anyt"ing or our !oetry, t"at ne breat" t"ese !oe(s bring....

Poetry consists in so rendering concrete objects t"at t"e e(otions !roduced by t"e objects s"all arise in t"e reader....

"ere "a$e you better rendered, or (ore !er(anently beautiul a rendering o, t"e eelings o one o t"ose lonely atc"ers, in t"e out!osts o !rogress, "et"er it be @$id in Hyrcania, a 2o(an sentinel u!on t"e great all o t"is country, or (erely oursel$es, in t"e lonely recesses o our (inds, t"an t"e *?a(ent o t"e /rontier Guard*...

%eauty is a $ery $aluable t"ing !er"a!s it is t"e (ost $aluable t"ing in lie but t"e !oer to e1!ress e(otion so t"at it s"all co((unicate itsel intact and e1actly is al(ost (ore $aluable. @ bot" t"ese Kualities Mr. Pound's boo& is $ery ull. T"ereore, + t"in& e (ay say t"at t"is is (uc" t"e best or& "e "as done, or, "oe$er closely "e (ay "a$e olloed "is originalsand o t"at (ost o us "a$e no (eans o judgingt"ere is certainly a good deal o Mr. Pound in t"is little $olu(e.

*at"ay* and *?ustra* ere olloed by t"e translations o Bo" !lays. T"e Bo" are not so i(!ortant as t"e "inese !oe(scertainly not so i(!ortant or Englis"F t"e attitude is lessunusual to us t"e or& is not so solid, so ir(. *at"ay* ill,+ belie$e, ran& it" t"e *Sea/arer* in t"e uture a(ong Mr.Pound's original or& t"e Bo" ill ran& a(ong "is translations.+t is rat"er a dessert ater *at"ay.* T"ere are, "oe$er, !assages "ic", as Pound "as "andled t"e(, are dierent bot"ro( t"e "inese and ro( anyt"ing e1istent in Englis". T"ereis, or e1a(!le, t"e ine s!eec" o t"e old Cage&iyo, as "et"in&s o "is yout"ul $alour:

He t"oug"t, "o easy t"is &illing. He rus"ed it" "is



s!ears"at gri!!ed under "is ar(. He cried out, *+ a( Cage&iyo o t"e Hei&e.* He rus"ed on to ta&e t"e(. He !ierced t"roug" t"e "el(et $izards o Miyanoya. Miyanoya led tice, and again and Cage&iyo cried: *ou s"all not esca!e (e6* He lea!ed and renc"ed o "is "el(et. *Eya6*

T"e $izard bro&e and re(ained in "is "and, and Miyanoya still led aar, and aar, and "e loo&ed bac& crying in terror, *Ho terrible, "o "ea$y your ar(6* 7nd Cage&iyo called at "i(, *Ho toug" t"e s"at o your nec& is6* 7nd t"ey bot" laug"ed out o$er t"e battle, and ent o eac" "is on ay.

T"e *Ti(es ?iterary Su!!le(ent* s!o&e o Mr. Pound's *(astery o beautiul diction* and "is *cunningly r"yt"(ically !rose,* inits re$ie o t"e *Bo".*

E$en since *?ustra,* Mr. Pound "as (o$ed again. T"is (o$e is tot"e e!ic, o "ic" t"ree cantos a!!ear in t"e 7(erican *?ustra*t"ey "a$e already a!!eared in *Poetry*Miss Monroe deser$esgreat "onour or "er courage in !rinting an e!ic !oe( in t"istentiet" centurybut t"e $ersion in *?ustra* is re$ised and isi(!ro$ed by re$isionF. e ill lea$e it as a test: "en anyone"as studied Mr. Pound's !oe(s in Ic"ronologicalI order, and "as(astered *?ustra* and *at"ay,* "e is !re!ared or t"e antos but not till t"en. + t"e reader t"en ails to li&e t"e(, "e "as !robably o(itted so(e ste! in "is !rogress, and "ad better go bac& and retrace t"e journey.

%+%?+@G27PH @/

%@@CS 7B) P72T+7? %+%?+@G27PH @/ B@T7%?E 2+T+7? 72T+?ES

% ED27 P@AB)

P@EMS

7 ?AME SPEBT@ 3 co!iesF. 7ntonelli, 0enice, 8une, 34J.

7 LA+BD7+BE /@2 TH+S A?E. /irst 3 !rinted by Polloc&, ?ondon, )ece(ber, 34J.



Second 3 !ublis"ed under El&in Mat"es' i(!rint, ?ondon, )ece(ber, 34J.

PE2S@B7E. Mat"es, ?ondon, S!ring, 344.

ENA?T7T+@BS. Mat"es, ?ondon, 7utu(n, 344.

P2@SE

THE SP+2+T @/ 2@M7BE. )ent, ?ondon, 343.

P@EMS

P2@0EB7 a selection o !oe(s ro( *Personae* and *E1ultations* it" ne !oe(sF. S(all Maynard, %oston, 343.

7BD@B+. Mat"es, ?ondon, 3433.

THE S@BBETS 7B) %7??7TE @/ GA+)@ 707?7BT+ translatedF. S(all Maynard, %oston, 3439.

7 c"ea!er edition o t"e sa(e, Sit and o., ?ondon, 3439. T"e bul& o t"is edition destroyed by ire.

2+P@STES. Sit, ?ondon, 3439. IBoteI.T"is boo& contains t"e irst announce(ent o +(agis(, in t"e oreord to t"e !oe(s o T. E. Hul(e.F

@THE2 PA%?+7T+@BS

*7 /E )@B'TS % 7B +M7G+STE,* in *Poetry,* or Marc", 343>.

*@BTEMP@27B+7* !oe(sF, in *Poetry,* 7!ril, 343>.

P@EMS



PE2S@B7E, ENA?T7T+@BS, 7BD@B+, 2+P@STES, !ublis"ed in to $olu(es. Mat"es, ?ondon, 343>.

/+2ST @/ THE B@TES @B 87MES 8@E, *Egoist,* 8anuary, 343O.

/+2ST @/ THE 72T+?ES @BE2B+BG G7A)+E2%2DESC7, *Egoist,* /ebruary, 343O.

@THE2 PA%?+7T+@BS

*)ES +M7G+STES,* !oe(s by se$eral aut"ors selected by Ezra Pound, !ublis"ed as a nu(ber o *T"e Glebe,* in Be or&. /ebruary, 343O.

7lred Crey(borg as at t"is ti(e editor o *T"e Glebe.* T"e irst arrange(ents or t"e ant"ology ere (ade t"roug" t"e &ind oices o 8o"n ournos during t"e inter o 34393>.

T"e Englis" edition o t"is ant"ology !ublis"ed by T"e Poetry %oo& S"o!. ?ondon, 343O.

72T+?E @B B)H7M ?E+S, *Egoist,* 8une 35, 343O.

@BT2+%AT+@BS T@ /+2ST BAM%E2 @/ *%last,* 8une 9, 343O.

*0@2T++SM,* an article in *T"e /ortnig"tly 2e$ie,* Se!te(ber, 343O.

*G7A)+E2%2DESC7,* an article in *T"e Be 7ge,* /ebruary O, 3435.

@BT2+%AT+@BS to second nu(ber o *%last,* 3435.

P@EMS

7TH7. Mat"es, ?ondon, 7!ril, 3435. Translations ro( t"e "inese ro( t"e notes o Ernest /enollosa.F



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Eliot, T. S. - Ezra Pound- His Metric and Poetry[1]

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Transcript of Eliot, T. S. - Ezra Pound- His Metric and Poetry[1]