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+Project Gutenberg's Ezra Pound: His Metric and Poetry, by T. S. Eliot
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Ezra Pound: His Metric and Poetry
+
+Author: T. S. Eliot
+
+
+Release Date: January, 2005 [EBook #7275]
+This file was first posted on April 6, 2003
+Last Updated: April 23, 2013
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EZRA POUND: HIS METRIC AND POETRY ***
+
+
+
+
+Produced by Andrea Ball, David Starner, Charles Franks,
+Juliet Sutherland, and the Online Distributed Proofreading
+Team
+
+
+
+
+
+
+
+
+EZRA POUND: HIS METRIC AND POETRY
+
+By T. S. Eliot
+
+
+
+
+BOOKS BY EZRA POUND
+
+
+PROVENÇA, being poems selected from Personae, Exultations, and
+Canzoniere. (Small, Maynard, Boston, 1910)
+
+THE SPIRIT OF ROMANCE: An attempt to define somewhat the charm
+of the pre-renaissance literature of Latin-Europe. (Dent,
+London, 1910; and Dutton, New York)
+
+THE SONNETS AND BALLATE OF GUIDO CAVALCANTI. (Small, Maynard,
+Boston, 1912)
+
+RIPOSTES. (Swift, London, 1912; and Mathews, London, 1913)
+
+DES IMAGISTES: An anthology of the Imagists, Ezra Pound,
+Aldington, Amy Lowell, Ford Maddox Hueffer, and others
+
+GAUDIER-BRZESKA: A memoir. (John Lane, London and New York,
+1916)
+
+NOH: A study of the Classical Stage of Japan with Ernest
+Fenollosa. (Alfred A. Knopf, New York, 1917; and Macmillan,
+London, 1917)
+
+LUSTRA with Earlier Poems. (Alfred A. Knopf, New York, 1917)
+
+PAVANNES AHD DIVISIONS. (Prose. In preparation: Alfred A. Knopf,
+New York)
+
+
+
+
+EZRA POUND: HIS METRIC AND POETRY
+
+
+
+I
+
+
+"All talk on modern poetry, by people who know," wrote Mr. Carl
+Sandburg in _Poetry_, "ends with dragging in Ezra Pound
+somewhere. He may be named only to be cursed as wanton and
+mocker, poseur, trifler and vagrant. Or he may be classed as
+filling a niche today like that of Keats in a preceding epoch.
+The point is, he will be mentioned."
+
+This is a simple statement of fact. But though Mr. Pound is well
+known, even having been the victim of interviews for Sunday
+papers, it does not follow that his work is thoroughly known.
+There are twenty people who have their opinion of him for every
+one who has read his writings with any care. Of those twenty,
+there will be some who are shocked, some who are ruffled, some
+who are irritated, and one or two whose sense of dignity is
+outraged. The twenty-first critic will probably be one who knows
+and admires some of the poems, but who either says: "Pound is
+primarily a scholar, a translator," or "Pound's early verse was
+beautiful; his later work shows nothing better than the itch for
+advertisement, a mischievous desire to be annoying, or a
+childish desire to be original." There is a third type of
+reader, rare enough, who has perceived Mr. Pound for some years,
+who has followed his career intelligently, and who recognizes
+its consistency.
+
+This essay is not written for the first twenty critics of
+literature, nor for that rare twenty-second who has just been
+mentioned, but for the admirer of a poem here or there, whose
+appreciation is capable of yielding him a larger return. If the
+reader is already at the stage where he can maintain at once the
+two propositions, "Pound is merely a scholar" and "Pound is
+merely a yellow journalist," or the other two propositions,
+"Pound is merely a technician" and "Pound is merely a prophet of
+chaos," then there is very little hope. But there are readers of
+poetry who have not yet reached this hypertrophy of the logical
+faculty; their attention might be arrested, not by an outburst
+of praise, but by a simple statement. The present essay aims
+merely at such a statement. It is not intended to be either a
+biographical or a critical study. It will not dilate upon
+"beauties"; it is a summary account of ten years' work in
+poetry. The citations from reviews will perhaps stimulate the
+reader to form his own opinion. We do not wish to form it for
+him. Nor shall we enter into other phases of Mr. Pound's
+activity during this ten years; his writings and views on art
+and music; though these would take an important place in any
+comprehensive biography.
+
+
+
+II
+
+
+Pound's first book was published in Venice. Venice was a halting
+point after he had left America and before he had settled in
+England, and here, in 1908, "A Lume Spento" appeared. The
+volume is now a rarity of literature; it was published by the
+author and made at a Venetian press where the author was able
+personally to supervise the printing; on paper which was a
+remainder of a supply which had been used for a History of the
+Church. Pound left Venice in the same year, and took "A Lume
+Spento" with him to London. It was not to be expected that a
+first book of verse, published by an unknown American in Venice,
+should attract much attention. The "Evening Standard" has the
+distinction of having noticed the volume, in a review summing it
+up as:
+
+    wild and haunting stuff, absolutely poetic, original,
+    imaginative, passionate, and spiritual. Those who do not
+    consider it crazy may well consider it inspired. Coming
+    after the trite and decorous verse of most of our decorous
+    poets, this poet seems like a minstrel of Provençe at a
+    suburban musical evening.... The unseizable magic of poetry
+    is in the queer paper volume, and words are no good in
+    describing it.
+
+As the chief poems in "A Lume Spento" were afterwards
+incorporated in "Personae," the book demands mention only as a
+date in the author's history. "Personae," the first book
+published in London, followed early in 1909. Few poets have
+undertaken the siege of London with so little backing; few books
+of verse have ever owed their success so purely to their own
+merits. Pound came to London a complete stranger, without either
+literary patronage or financial means. He took "Personae" to Mr.
+Elkin Mathews, who has the glory of having published Yeats'
+"Wind Among the Reeds," and the "Books of the Rhymers' Club," in
+which many of the poets of the '90s, now famous, found a place.
+Mr. Mathews first suggested, as was natural to an unknown
+author, that the author should bear part of the cost of
+printing. "I have a shilling in my pocket, if that is any use to
+you," said the latter. "Well," said Mr. Mathews, "I want to
+publish it anyway." His acumen was justified. The book was, it
+is true, received with opposition, but it was received. There
+were a few appreciative critics, notably Mr. Edward Thomas, the
+poet (known also as "Edward Eastaway"; he has since been killed
+in France). Thomas, writing in the "English Review" (then in its
+brightest days under the editorship of Ford Madox Hueffer),
+recognized the first-hand intensity of feeling in "Personae":
+
+    He has ... hardly any of the superficial good qualities of
+    modern versifiers.... He has not the current melancholy or
+    resignation or unwillingness to live; nor the kind of
+    feeling for nature which runs to minute description and
+    decorative metaphor. He cannot be usefully compared with any
+    living writers;... full of personality and with such power
+    to express it, that from the first to the last lines of most
+    of his poems he holds us steadily in his own pure grave,
+    passionate world.... The beauty of it (In Praise of Ysolt)
+    is the beauty of passion, sincerity and intensity, not of
+    beautiful words and images and suggestions ... the thought
+    dominates the words and is greater than they are. Here
+    (Idyll for Glaucus) the effect is full of human passion and
+    natural magic, without any of the phrases which a reader of
+    modern verse would expect in the treatment of such a
+    subject.
+
+Mr. Scott James, in the "Daily News," speaks in praise of his
+metres:
+
+    At first the whole thing may seem to be mere madness and
+    rhetoric, a vain exhibition of force and passion without
+    beauty. But, as we read on, these curious metres of his seem
+    to have a law and order of their own; the brute force of Mr.
+    Pound's imagination seems to impart some quality of
+    infectious beauty to his words. Sometimes there is a strange
+    beating of anapaests when he quickens to his subject; again
+    and again he unexpectedly ends a line with the second half
+    of a reverberant hexameter:
+
+      "Flesh shrouded, bearing the secret."
+
+    ... And a few lines later comes an example of his favourite
+    use of spondee, followed by dactyl and spondee, which comes
+    in strangely and, as we first read it, with the appearance
+    of discord, but afterwards seems to gain a curious and
+    distinctive vigour:
+
+      "Eyes, dreams, lips, and the night goes."
+
+    Another line like the end of a hexameter is
+
+      "But if e'er I come to my love's land."
+
+But even so favourable a critic pauses to remark that
+
+    He baffles us by archaic words and unfamiliar metres; he
+    often seems to be scorning the limitations of form and
+    metre, breaking out into any sort of expression which suits
+    itself to his mood.
+
+and counsels the poet to "have a little more respect for his
+art."
+
+It is, in fact, just this adaptability of metre to mood,
+an adaptability due to an intensive study of metre, that
+constitutes an important element in Pound's technique. Few
+readers were prepared to accept or follow the amount of
+erudition which entered into "Personae" and its close successor,
+"Exultations," or to devote the care to reading them which they
+demand. It is here that many have been led astray. Pound is not
+one of those poets who make no demand of the reader; and the
+casual reader of verse, disconcerted by the difference between
+Pound's poetry and that on which his taste has been trained,
+attributes his own difficulties to excessive scholarship on the
+part of the author. "This," he will say of some of the poems in
+Provençal form or on Provençal subjects, "is archaeology; it
+requires knowledge on the part of its reader, and true poetry
+does not require such knowledge." But to display knowledge is
+not the same thing as to expect it on the part of the reader;
+and of this sort of pedantry Pound is quite free. He is, it is
+true, one of the most learned of poets. In America he had taken
+up the study of Romance Languages with the intention of
+teaching. After work in Spain and Italy, after pursuing the
+Provençal verb from Milan to Freiburg, he deserted the thesis
+on Lope de Vega and the Ph.D. and the professorial chair,
+and elected to remain in Europe. Mr. Pound has spoken out
+his mind from time to time on the subject of scholarship in
+American universities, its deadness, its isolation from genuine
+appreciation, and the active creative life of literature. He has
+always been ready to battle against pedantry. As for his own
+learning, he has studied poetry carefully, and has made use of
+his study in his own verse. "Personae" and "Exultations"
+show his talent for turning his studies to account. He was
+supersaturated in Provençe; he had tramped over most of the
+country; and the life of the courts where the Troubadours
+thronged was part of his own life to him. Yet, though "Personae"
+and "Exultations" do exact something from the reader, they do
+not require a knowledge of Provençal or of Spanish or Italian.
+Very few people know the Arthurian legends well, or even Malory
+(if they did they might realize that the Idylls of the King are
+hardly more important than a parody, or a "Chaucer retold for
+Children"); but no one accuses Tennyson of needing footnotes, or
+of superciliousness toward the uninstructed. The difference is
+merely in what people are prepared for; most readers could no
+more relate the myth of Atys correctly than they could give a
+biography of Bertrand de Born. It is hardly too much to say that
+there is no poem in these volumes of Mr. Pound which needs
+fuller explanation than he gives himself. What the poems do
+require is a trained ear, or at least the willingness to be
+trained.
+
+The metres and the use of language are unfamiliar. There are
+certain traces of modern influence. We cannot agree with Mr.
+Scott-James that among these are "W. E. Henley, Kipling,
+Chatterton, and especially Walt Whitman"--least of all Walt
+Whitman. Probably there are only two: Yeats and Browning. Yeats
+in "La Fraisne," in "Personae," for instance, in the attitude
+and somewhat in the vocabulary:
+
+  I wrapped my tears in an ellum leaf
+  And left them under a stone,
+  And now men call me mad because I have thrown
+  All folly from me, putting it aside
+  To leave the old barren ways of men ...
+
+For Browning, Mr. Pound has always professed strong admiration
+(see "Mesmerism" in "Personae"); there are traces of him in
+"Cino" and "Famam Librosque Cano," in the same volume. But it is
+more profitable to comment upon the variety of metres and the
+original use of language.
+
+Ezra Pound has been fathered with vers libre in English, with
+all its vices and virtues. The term is a loose one--any verse is
+called "free" by people whose ears are not accustomed to it--in
+the second place, Pound's use of this medium has shown the
+temperance of the artist, and his belief in it as a vehicle is
+not that of the fanatic. He has said himself that when one has
+the proper material for a sonnet, one should use the sonnet
+form; but that it happens very rarely to any poet to find
+himself in possession of just the block of stuff which can
+perfectly be modelled into the sonnet. It is true that up to
+very recently it was impossible to get free verse printed in any
+periodical except those in which Pound had influence; and
+that now it is possible to print free verse (second, third, or
+tenth-rate) in almost any American magazine. Who is responsible
+for the bad free verse is a question of no importance, inasmuch
+as its authors would have written bad verse in any form; Pound
+has at least the right to be judged by the success or failure of
+his own. Pound's vers libre is such as is only possible for a
+poet who has worked tirelessly with rigid forms and different
+systems of metric. His "Canzoni" are in a way aside from his
+direct line of progress; they are much more nearly studies in
+mediaeval appreciation than any of his other verse; but they are
+interesting, apart from their merit, as showing the poet at work
+with the most intricate Provençal forms--so intricate that the
+pattern cannot be exhibited without quoting an entire poem. (M.
+Jean de Bosschere, whose French is translated in the "Egoist,"
+has already called attention to the fact that Pound was the
+first writer in English to use five Provençal forms.) Quotation
+will show, however, the great variety of rhythm which Pound
+manages to introduce into the ordinary iambic pentameter:
+
+  Thy gracious ways,
+                    O lady of my heart, have
+  O'er all my thought their golden glamour cast;
+  As amber torch-flames, where strange men-at-arms
+  Tread softly 'neath the damask shield of night,
+  Rise from the flowing steel in part reflected,
+  So on my mailed thought that with thee goeth,
+  Though dark the way, a golden glamour falleth.
+
+Within the iambic limits, there are no two lines in the whole
+poem that have an identical rhythm.
+
+We turn from this to a poem in "Exultations," the "Night
+Litany":
+
+  O God, what great kindness
+            have we done in times past
+            and forgotten it,
+  That thou givest this wonder unto us,
+            O God of waters?
+
+  O God of the night
+            What great sorrow
+  Cometh unto us,
+            That thou thus repayest us
+  Before the time of its coming?
+
+There is evident, and more strongly in certain later poems, a
+tendency toward quantitative measure. Such a "freedom" as this
+lays so heavy a burden upon every word in a line that it becomes
+impossible to write like Shelley, leaving blanks for the
+adjectives, or like Swinburne, whose adjectives are practically
+blanks. Other poets have manipulated a great variety of metres
+and forms; but few have studied the forms and metres which they
+use so carefully as has Pound. His ballad of the "Goodly Fere"
+shows great knowledge of the ballad form:
+
+  I ha' seen him cow a thousand men
+  On the hills o' Galilee,
+  They whined as he walked out calm between
+  Wi' his eyes like the grey o' the sea.
+
+  Like the sea that brooks no voyaging
+  With the winds unleashed and free,
+  Like the sea that he cowed at Genseret
+  Wi' twey words spoke suddently.
+
+  A master of men was the Goodly Fere
+  A mate of the wind and sea,
+  If they think they ha' slain our Goodly Fere
+  They are fools eternally.
+
+  I ha' seen him eat o' the honey-comb
+  Sin' they nailed him to the tree.
+
+And from this we turn to a very different form in the
+"Altaforte," which is perhaps the best sestina that has
+been written in English:
+
+  Damn it all! all this our South stinks peace.
+  You whoreson dog, Papiols, come! let's to music!
+  I have no life save when the swords clash.
+  But ah! when I see the standards gold, vair, purple, opposing,
+  And the broad fields beneath them turn crimson,
+  Then howl I my heart nigh mad with rejoicing.
+
+  In hot summer have I great rejoicing
+  When the tempests kill the earth's foul peace,
+  And the lightnings from black heaven flash crimson,
+  And the fierce thunders roar me their music
+  And the winds  shriek through the clouds mad, opposing,
+  And through all the riven skies God's swords clash.
+
+I have quoted two verses to show the intricacy of the pattern.
+
+The Provençal canzon, like the Elizabethan lyric, was written
+for music. Mr. Pound has more recently insisted, in a series of
+articles on the work of Arnold Dolmetsch, in the "Egoist," on
+the importance of a study of music for the poet.
+
+       *       *       *       *       *
+
+Such a relation between poetry and music is very different from
+what is called the "music" of Shelley or Swinburne, a music
+often nearer to rhetoric (or the art of the orator) than to the
+instrument. For poetry to approach the condition of music
+(Pound quotes approvingly the dictum of Pater) it is not
+necessary that poetry should be destitute of meaning. Instead of
+slightly veiled and resonant abstractions, like
+
+  Time with a gift of tears,
+  Grief with a glass that ran--
+
+of Swinburne, or the mossiness of Mallarmé, Pound's verse is
+always definite and concrete, because he has always a definite
+emotion behind it.
+
+  Though I've roamed through many places,
+  None there is that my heart troweth
+  Fair as that wherein fair groweth
+  One whose laud here interlaces
+  Tuneful words, that I've essayed.
+  Let this tune be gently played
+  Which my voice herward upraises.
+
+At the end of this poem the author appends the note:
+
+    The form and measure are those of Piere Vidal's "_Ab
+    l'alen tir vas me l'aire_." The song is fit only to be
+    sung, and is not to be spoken.
+
+There are, here and there, deliberate archaisms or oddities
+(e.g., "herward"); there are deliberately arbitrary images,
+having their place in the total effect of the poem:
+
+
+  Red leaf that art blown upward and out and over
+  The green sheaf of the world ...
+
+  The lotos that pours
+  Her fragrance into the purple cup ...
+
+  Black lightning ... (in a more recent poem)
+
+but no word is ever chosen merely for the tinkle; each has
+always its part in producing an impression which is produced
+always through language. Words are perhaps the hardest of
+all material of art: for they must be used to express both
+visual beauty and beauty of sound, as well as communicating
+a grammatical statement. It would be interesting to compare
+Pound's use of images with Mallarmé's; I think it will be found
+that the former's, by the contrast, will appear always sharp in
+outline, even if arbitrary and not photographic. Such images as
+those quoted above are as precise in their way as
+
+  Sur le Noel, morte saison,
+  Lorsque les loups vivent de vent ...
+
+and the rest of that memorable Testament.
+
+So much for the imagery. As to the "freedom" of his verse, Pound
+has made several statements in his articles on Dolmetsch which
+are to the point:
+
+    Any work of art is a compound of freedom and order. It is
+    perfectly obvious that art hangs between chaos on the one
+    side and mechanics on the other. A pedantic insistence upon
+    detail tends to drive out "major form." A firm hold on major
+    form makes for a freedom of detail. In painting men intent
+    on minutiae gradually lost the sense of form and form-
+    combination. An attempt to restore this sense is branded as
+    "revolution." It is revolution in the philological sense of
+    the term....
+
+    Art is a departure from fixed positions; felicitous
+    departure from a norm....
+
+The freedom of Pound's verse is rather a state of tension due to
+constant opposition between free and strict. There are not, as a
+matter of fact, two kinds of verse, the strict and the free;
+there is only a mastery which comes of being so well trained
+that form is an instinct and can be adapted to the particular
+purpose in hand.
+
+       *       *      *       *       *
+
+After "Exultations" came the translation of the "Sonnets and
+Ballate of Guido Cavalcanti." It is worth noting that the writer
+of a long review in the "_Quest_"--speaking in praise of the
+translation, yet found fault with the author not on the ground
+of excessive mediaevalism, but because
+
+    he is concerned rather with the future than with a somewhat
+    remote past, so that in spite of his love for the mediaeval
+    poets, his very accomplishment as a distinctly modern poet
+    makes against his success as a wholly acceptable translator
+    of Cavalcanti, the heir of the Troubadours, the scholastic.
+
+Yet the _Daily News_, in criticising "Canzoni," had remarked
+that Mr. Pound
+
+    seems to us rather a scholar than a poet, and we should like
+    to see him giving his unusual talent more to direct
+    translation from the Provençal.
+
+and Mr. J. C. Squire (now the literary editor of the _New
+Statesman_), in an appreciative review in the _New Age_, had
+counselled the poet that he would
+
+    gain and not lose if he could forget all about the poets of
+    Dante's day, their roses and their flames, their gold and
+    their falcons, and their literary amorousness, and walk out
+    of the library into the fresh air.
+
+In "Ripostes" there are traces of a different idiom.
+Superficially, the work may appear less important. The diction
+is more restrained, the flights shorter, the dexterity of
+technique is less arresting. By romantic readers the book would
+be considered less "passionate." But there is a much more solid
+substratum to this book; there is more thought; greater depth,
+if less agitation on the surface. The effect of London is
+apparent; the author has become a critic of men, surveying them
+from a consistent and developed point of view; he is more
+formidable and disconcerting; in short, much more mature.
+That he abandons nothing of his technical skill is evident from
+the translation from the Anglo-Saxon, the "Seafarer." It is
+not a slight achievement to have brought to life alliterative
+verse: perhaps the "Seafarer" is the only successful piece of
+alliterative verse ever written in modern English; alliterative
+verse which is not merely a clever tour de force, but which
+suggests the possibility of a new development of this form. Mr.
+Richard Aldington (whose own accomplishments as a writer of vers
+libre qualify him to speak) called the poem "unsurpassed and
+unsurpassable," and a writer in the _New Age_ (a literary organ
+which has always been strongly opposed to metrical innovations)
+called it "one of the finest literary works of art produced in
+England during the last ten years." And the rough, stern beauty
+of the Anglo-Saxon, we may remark, is at the opposite pole from
+that of the Provençal and Italian poets to whom Pound had
+previously devoted his attention.
+
+  May I for my own self song's truth reckon,
+  Journey's jargon, how I in harsh days
+  Hardship endured oft.
+
+But we can notice in "Ripostes" other evidences than of
+versatility only; certain poems show Mr. Pound turning to more
+modern subjects, as in the "Portrait d'une femme," or the
+mordant epigram, "An Object." Many readers are apt to confuse
+the maturing of personality with desiccation of the emotions.
+There is no desiccation in "Ripostes." This should be evident to
+anyone who reads carefully such a poem as "A Girl." We quote it
+entire without comment.
+
+  The tree has entered my hands,
+  The sap has ascended my arms,
+  The tree has grown in my breast--
+  Downward,
+  The branches grow out of me, like arms.
+
+  Tree you are,
+  Moss you are,
+  You are violets with wind above them.
+  A child--_so_ high--you are,
+  And all this is folly to the world.
+
+"The Return" is an important study in verse which is really
+quantitative. We quote only a few lines:
+
+  See, they return; ah, see the tentative
+  Movements, and the slow feet,
+  The trouble in the pace and the uncertain
+  Wavering!
+
+"Ripostes" belongs to the period when Mr. Pound was being
+attacked because of his propaganda. He became known as the
+inventor of "Imagism," and later, as the "High Priest of
+Vorticism." As a matter of fact, the actual "propaganda" of Mr.
+Pound has been very small in quantity. The impression which his
+personality made, however, is suggested by the following note in
+"_Punch_," which is always a pretty reliable barometer of the
+English middle-class Grin:
+
+    Mr. Welkin Mark (exactly opposite Long Jane's) begs to
+    announce that he has secured for the English market the
+    palpitating works of the new Montana (U.S.A.) poet, Mr.
+    Ezekiel Ton, who is the most remarkable thing in poetry
+    since Robert Browning. Mr. Ton, who has left America to
+    reside for a while in London and impress his personality on
+    English editors, publishers and readers, is by far the
+    newest poet going, whatever other advertisements may say. He
+    has succeeded, where all others have failed, in evolving a
+    blend of the imagery of the unfettered West, the vocabulary
+    of Wardour Street, and the sinister abandon of Borgiac
+    Italy.
+
+In 1913, someone writing to the New York _Nation_ from the
+University of Illinois, illustrates the American, more serious,
+disapproval. This writer begins by expressing his objections to
+the "principle of Futurism." (Pound has perhaps done more than
+anyone to keep Futurism out of England. His antagonism to this
+movement was the first which was not due merely to unintelligent
+dislike for anything new, and was due to his perception that
+Futurism was incompatible with any principles of form. In his
+own words, Futurism is "accelerated impressionism.") The writer
+in the _Nation_ then goes on to analyze the modern "hypertrophy
+of romanticism" into
+
+  The exaggeration of the importance of a personal emotion.
+  The abandonment of all standards of form.
+  The suppression of all evidence that a particular composition
+  is animated by any directing intelligence.
+
+As for the first point, here are Mr. Pound's words in answer to
+the question, "do you agree that the great poet is never
+emotional?"
+
+    Yes, absolutely; if by emotion is meant that he is at the
+    mercy of every passing mood.... The only kind of emotion
+    worthy of a poet is the inspirational emotion which
+    energises and strengthens, and which is very remote from the
+    everyday emotion of sloppiness and sentiment....
+
+And as for the platform of Imagism, here are a few of Pound's
+"Don'ts for Imagists":
+
+    Pay no attention to the criticisms of men who have never
+    themselves written a notable work.
+
+    Use no superfluous word and no adjective which does not
+    reveal something.
+
+    Go in fear of abstractions. Don't retail in mediocre verse
+    what has already been done in good prose.
+
+    Don't imagine that the art of poetry is any simpler than the
+    art of music or that you can please the expert before you
+    have spent at least as much effort on the art of verse as
+    the average piano teacher spends on the art of music.
+
+    Be influenced by as many great artists as you can, but have
+    the decency either to acknowledge the debt outright or try
+    to conceal it.
+
+    Consider the definiteness of Dante's presentation as
+    compared with Milton's. Read as much of Wordsworth as does
+    not seem to be unutterably dull.
+
+    If you want the gist of the matter go to Sappho, Catullus,
+    Villon when he is in the vein, Gautier when he is not too
+    frigid, or if you have not the tongues seek out the
+    leisurely Chaucer.
+
+    Good prose will do you no harm. There is good discipline to
+    be had by trying to write it. Translation is also good
+    training.
+
+The emphasis here is certainly on discipline and form. The
+Chicago _Tribune_ recognized this as "sound sense," adding:
+
+    If this is Imagism ... we are for establishing Imagism by
+    constitutional amendment and imprisoning without recourse to
+    ink or paper all "literary" ladies or gents who break any of
+    these canons.
+
+But other reviewers were less approving. While the writer in the
+_Nation_, quoted above, dreads the anarchy impending, Mr.
+William Archer was terrified at the prospect of hieratic
+formalisation. Mr. Archer believes in the simple untaught muse:
+
+    Mr. Pound's commandments tend too much to make of poetry a
+    learned, self-conscious craft, to be cultivated by a guild
+    of adepts, from whose austere laboratories spontaneity and
+    simplicity are excluded.... A great deal of the best poetry
+    in the world has very little technical study behind it....
+    There are scores and hundreds of people in England who could
+    write this simple metre (i.e. of "A Shropshire Lad")
+    successfully.
+
+To be hanged for a cat and drowned for a rat is, perhaps,
+sufficient exculpation.
+
+Probably Mr. Pound has won odium not so much by his theories as
+by his unstinted praise of certain contemporary authors whose
+work he has liked. Such expressions of approval are usually
+taken as a grievance--much more so than any personal abuse,
+which is comparatively a compliment--by the writers who escape
+his mention. He does not say "A., B., and C. are bad poets or
+novelists," but when he says "The work of X., Y., and Z. is in
+such and such respects the most important work in verse (or
+prose) since so and so," then A., B., and C. are aggrieved.
+Also, Pound has frequently expressed disapproval of Milton and
+Wordsworth.
+
+After "Ripostes," Mr. Pound's idiom has advanced still farther.
+Inasmuch as "Cathay," the volume of translations from the
+Chinese, appeared prior to "Lustra," it is sometimes thought
+that his newer idiom is due to the Chinese influence. This is
+almost the reverse of the truth. The late Ernest Fenollosa left
+a quantity of manuscripts, including a great number of rough
+translations (literally exact) from the Chinese. After certain
+poems subsequently incorporated in "Lustra" had appeared in
+"Poetry," Mrs. Fenollosa recognized that in Pound the Chinese
+manuscripts would find the interpreter whom her husband would
+have wished; she accordingly forwarded the papers for him to do
+as he liked with. It is thus due to Mrs. Fenollosa's acumen that
+we have "Cathay"; it is not as a consequence of "Cathay" that we
+have "Lustra." This fact must be borne in mind.
+
+Poems afterward embodied in "Lustra" appeared in "Poetry," in
+April, 1913, under the title of "Contemporanea." They included
+among others "Tenzone," "The Condolence," "The Garret,"
+"Salutation the Second," and "Dance Figure."
+
+There are influences, but deviously. It is rather a gradual
+development of experience into which literary experiences have
+entered. These have not brought the bondage of temporary
+enthusiasms, but have liberated the poet from his former
+restricted sphere. There is Catullus and Martial, Gautier,
+Laforgue and Tristan Corbière. Whitman is certainly not an
+influence; there is not a trace of him anywhere; Whitman and Mr.
+Pound are antipodean to each other. Of "Contemporanea" the
+_Chicago Evening Post_ discriminatingly observed:
+
+    Your poems in the April _Poetry_ are so mockingly, so
+    delicately, so unblushingly beautiful that you seem to have
+    brought back into the world a grace which (probably) never
+    existed, but which we discover by an imaginative process in
+    Horace and Catullus.
+
+It was a true insight to ally Pound to the Latin, not to the
+Greek poets.
+
+Certain of the poems in "Lustra" have offended admirers of the
+verse of the "Personae" period. When a poet alters or develops,
+many of his admirers are sure to drop off. Any poet, if he is to
+survive as a writer beyond his twenty-fifth year, must alter; he
+must seek new literary influences; he will have different
+emotions to express. This is disconcerting to that public which
+likes a poet to spin his whole work out of the feelings of his
+youth; which likes to be able to open a new volume of his poems
+with the assurance that they will be able to approach it exactly
+as they approached the preceding. They do not like that constant
+readjustment which the following of Mr. Pound's work demands.
+Thus has "Lustra" been a disappointment to some; though it
+manifests no falling off in technique, and no impoverishment
+of feeling. Some of the poems (including several of the
+"Contemporanea") are a more direct statement of views than
+Pound's verse had ever given before. Of these poems, M. Jean de
+Bosschère writes:
+
+    Everywhere his poems incite man to exist, to profess a
+    becoming egotism, without which there can be no real
+    altruism.
+
+      I beseech you enter your life.
+      I beseech you learn to say "I"
+      When I question you.
+      For you are no part, but a whole;
+      No portion, but a being.
+
+    ... One must be capable of reacting to stimuli for a moment,
+    as a real, live person, even in face of as much of one's own
+    powers as are arrayed against one;... The virile complaint,
+    the revolt of the poet, all which shows his emotion,--that
+    is poetry.
+
+      Speak against unconscious oppression,
+      Speak against the tyranny of the unimaginative,
+      Speak against bonds.
+
+        Be against all forms of oppression,
+        Go out and defy opinion.
+
+    This is the old cry of the poet, but more precise, as an
+    expression of frank disgust:
+
+      Go to the adolescent who are smothered in family.
+      O, how hideous it is
+      To see three generations of one house gathered together!
+      It is like an old tree without shoots,
+      And with some branches rotted and falling.
+
+    Each poem holds out these cries of revolt or disgust, but
+    they are the result of his still hoping and feeling:
+
+    Let us take arms against this sea of stupidities. Pound ...
+    has experience of the folly of the Philistines who read his
+    verse. Real pain is born of this stupid interpretation, and
+    one does not realize how deep it is unless one can feel,
+    through the ejaculations and the laughter, what has caused
+    these wounds, which are made deeper by what he knows, and
+    what he has lost....
+
+    The tone, which is at once jocund and keen, is one of
+    Pound's qualities. Ovid, Catullus--he does not disown them.
+    He only uses these accents for his familiars; with the
+    others he is on the edge of paradox, pamphleteering, indeed
+    of abuse....
+
+This is the proper approach to the poems at the beginning of
+"Lustra," and to the short epigrams, which some readers find
+"pointless," or certainly "not poetry." They should read, then,
+the "Dance Figure," or "Near Périgord," and remember that all
+these poems come out of the same man.
+
+  Thine arms are as a young sapling under the bark;
+  Thy face as a river with lights.
+
+  White as an almond are thy shoulders;
+  As new almonds stripped from the husk.
+
+Or the ending of "Near Périgord":
+
+  Bewildering spring, and by the Auvezère
+  Poppies and day's-eyes in the green émail
+  Rose over us; and we knew all that stream,
+  And our two horses had traced out the valleys;
+  Knew the low flooded lands squared out with poplars,
+  In the young days when the deep sky befriended.
+  And great wings beat above us in the twilight,
+  And the great wheels in heaven
+  Bore us together ... surging ... and apart ...
+  Believing we should meet with lips and hands ...
+
+  There shut up in his castle, Tairiran's,
+  She who had nor ears nor tongue save in her hands,
+  Gone, ah, gone--untouched, unreachable!
+  She who could never live save through one person,
+  She who could never speak save to one person,
+  And all the rest of her a shifting change,
+  A broken bundle of mirrors...!
+
+
+Then turn at once to "To a Friend Writing on Cabaret Dancers."
+
+It is easy to say that the language of "Cathay" is due to the
+Chinese. If one looks carefully at (1) Pound's other verse, (2)
+other people's translations from the Chinese (e.g., Giles's), it
+is evident that this is not the case. The language was ready for
+the Chinese poetry. Compare, for instance, a passage from
+"Provincia Deserta":
+
+  I have walked
+               into Périgord
+  I have seen the torch-flames, high-leaping,
+  Painting the front of that church,--
+  And, under the dark, whirling laughter,
+  I have looked back over the stream
+               and seen the high building,
+  Seen the long minarets, the white shafts.
+  I have gone in Ribeyrac,
+               and in Sarlat.
+  I have climbed rickety stairs, heard talk of Croy,
+  Walked over En Bertran's old layout,
+  Have seen Narbonne, and Cahors and Chalus,
+  Have seen Excideuil, carefully fashioned.
+
+with a passage from "The River Song":
+
+  He goes out to Hori, to look at the wing-flapping storks,
+  He returns by way of Sei rock, to hear the new nightingales,
+  For the gardens at Jo-run are full of new nightingales,
+  Their sound is mixed in this flute,
+  Their voice is in the twelve pipes here.
+
+It matters very little how much is due to Rihaku and how much to
+Pound. Mr. Ford Madox Hueffer has observed: "If these are
+original verses, then Mr. Pound is the greatest poet of this
+day." He goes on to say:
+
+    The poems in "Cathay" are things of a supreme beauty. What
+    poetry should be, that they are. And if a new breath of
+    imagery and handling can do anything for our poetry, that
+    new breath these poems bring....
+
+    Poetry consists in so rendering concrete objects that the
+    emotions produced by the objects shall arise in the
+    reader....
+
+    Where have you better rendered, or more permanently
+    beautiful a rendering of, the feelings of one of those
+    lonely watchers, in the outposts of progress, whether it be
+    Ovid in Hyrcania, a Roman sentinel upon the great wall of
+    this country, or merely ourselves, in the lonely recesses of
+    our minds, than the "Lament of the Frontier Guard"?...
+
+    Beauty is a very valuable thing; perhaps it is the most
+    valuable thing in life; but the power to express emotion so
+    that it shall communicate itself intact and exactly is
+    almost more valuable. Of both these qualities Mr. Pound's
+    book is very full. Therefore, I think we may say that this
+    is much the best work he has done, for, however closely he
+    may have followed his originals--and of that most of us have
+    no means of judging--there is certainly a good deal of Mr.
+    Pound in this little volume.
+
+"Cathay" and "Lustra" were followed by the translations of Noh
+plays. The Noh are not so important as the Chinese poems
+(certainly not so important for English); the attitude is less
+unusual to us; the work is not so solid, so firm. "Cathay" will,
+I believe, rank with the "Sea-Farer" in the future among Mr.
+Pound's original work; the Noh will rank among his translations.
+It is rather a dessert after "Cathay." There are, however,
+passages which, as Pound has handled them, are different both
+from the Chinese and from anything existent in English. There
+is, for example, the fine speech of the old Kagekiyo, as he
+thinks of his youthful valour:
+
+    He thought, how easy this killing. He rushed with his
+    spearshaft gripped under his arm. He cried out, "I am
+    Kagekiyo of the Heike." He rushed on to take them. He
+    pierced through the helmet vizards of Miyanoya. Miyanoya
+    fled twice, and again; and Kagekiyo cried: "You shall not
+    escape me!" He leaped and wrenched off his helmet. "Eya!"
+    The vizard broke and remained in his hand, and Miyanoya
+    still fled afar, and afar, and he looked back crying in
+    terror, "How terrible, how heavy your arm!" And Kagekiyo
+    called at him, "How tough the shaft of your neck is!" And
+    they both laughed out over the battle, and went off each his
+    own way.
+
+The "Times Literary Supplement" spoke of Mr. Pound's "mastery of
+beautiful diction" and his "cunningly rhythmically prose," in
+its review of the "Noh."
+
+Even since "Lustra," Mr. Pound has moved again. This move is to
+the epic, of which three cantos appear in the American "Lustra"
+(they have already appeared in "Poetry"--Miss Monroe deserves
+great honour for her courage in printing an epic poem in this
+twentieth century--but the version in "Lustra" is revised and is
+improved by revision). We will leave it as a test: when anyone
+has studied Mr. Pound's poems in _chronological_ order, and has
+mastered "Lustra" and "Cathay," he is prepared for the Cantos--
+but not till then. If the reader then fails to like them, he has
+probably omitted some step in his progress, and had better go
+back and retrace the journey.
+
+
+
+
+BIBLIOGRAPHY OF BOOKS
+
+AND PARTIAL BIBLIOGRAPHY OF NOTABLE CRITICAL ARTICLES BY EZRA POUND
+
+
+
+POEMS
+
+
+A LUME SPENTO (100 copies). Antonelli, Venice, June, 1908.
+
+A QUINZAINE FOR THIS YULE.
+  First 100 printed by Pollock, London, December, 1908.
+
+  Second 100 published under Elkin Mathews' imprint, London,
+    December, 1908.
+
+PERSONAE. Mathews, London, Spring, 1909.
+
+EXULTATIONS. Mathews, London, Autumn, 1909.
+
+
+
+PROSE
+
+
+THE SPIRIT OF ROMANCE. Dent, London, 1910.
+
+
+
+POEMS
+
+
+PROVENÇA (a selection of poems from "Personae" and
+  "Exultations" with new poems). Small Maynard, Boston, 1910.
+
+CANZONI. Mathews, London, 1911.
+
+THE SONNETS AND BALLATE OF GUIDO CAVALCANTI (translated).
+  Small Maynard, Boston, 1912.
+
+  A cheaper edition of the same, Swift and Co., London, 1912.
+  The bulk of this edition destroyed by fire.
+
+RIPOSTES. Swift, London, 1912.
+  (_Note_.--This book contains the first announcement of
+  Imagism, in the foreword to the poems of T. E. Hulme.)
+
+
+
+OTHER PUBLICATIONS
+
+
+"A FEW DON'TS BY AN IMAGISTE," in "Poetry," for March, 1913.
+
+"CONTEMPORANIA" (poems), in "Poetry," April, 1913.
+
+
+
+POEMS
+
+
+PERSONAE, EXULTATIONS, CANZONI, RIPOSTES, published in two
+  volumes. Mathews, London, 1913.
+
+FIRST OF THE NOTES ON JAMES JOYCE, "Egoist," January, 1914.
+
+FIRST OF THE ARTICLES CONCERNING GAUDIER-BRZESKA, "Egoist,"
+  February, 1914.
+
+
+
+OTHER PUBLICATIONS
+
+
+"DES IMAGISTES," poems by several authors selected by Ezra
+  Pound, published as a number of "The Glebe," in New York.
+  February, 1914.
+
+  Alfred Kreymborg was at this time editor of "The Glebe." The
+  first arrangements for the anthology were made through the
+  kind offices of John Cournos during the winter of 1912-13.
+
+  The English edition of this anthology published by The Poetry
+  Book Shop. London, 1914.
+
+ARTICLE ON WYNDHAM LEWIS, "Egoist," June 15, 1914.
+
+CONTRIBUTIONS TO FIRST NUMBER OF "Blast," June 20, 1914.
+
+"VORTICISM," an article in "The Fortnightly Review," September,
+  1914.
+
+"GAUDIER-BRZESKA," an article in "The New Age," February 4,
+  1915.
+
+CONTRIBUTIONS to second number of "Blast," 1915.
+
+
+
+POEMS
+
+
+CATHAY. Mathews, London, April, 1915. (Translations from the
+  Chinese from the notes of Ernest Fenollosa.)
+
+
+
+OTHER PUBLICATIONS
+
+
+THE CATHOLIC ANTHOLOGY, edited by Ezra Pound. Mathews, London,
+  December, 1915.
+
+GAUDIER-BRZESKA, a memoir. John Lane, London and New York, 1916.
+
+LUSTRA (poems) public edition, pp. 116. Mathews, London, 1916.
+  200 copies privately printed and numbered, pp. 124.
+
+CERTAIN NOBLE PLAYS OF JAPAN. Cuala Press, Dundrum, Ireland,
+  1916. Translated by Ernest Fenollosa and Ezra Pound, with an
+  introduction by William Butler Yeats.
+
+NOH, or Accomplishment. A study of the Classical Stage of
+  Japan, including translations of fifteen plays, by Ernest
+  Fenollosa and Ezra Pound. Macmillan, London, 1917. Knopf, New
+  York, 1917.
+
+PASSAGES FROM THE LETTERS OF JOHN BUTLER YEATS, selected by Ezra
+  Pound, with brief editorial note. Cuala Press, 1917.
+
+LUSTRA, with Earlier Poems, Knopf, New York, 1917. (This
+  collection of Mr. Pound's poems contains all that he now
+  thinks fit to republish.)
+
+  There is also a privately-printed edition of fifty copies,
+  with a reproduction of a drawing of Ezra Pound by Henri
+  Gaudier-Brzeska (New York, 1917).
+
+PAVANNES and DIVISIONS (Prose), in preparation. Knopf,
+  New York.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Ezra Pound: His Metric and Poetry, by T. S. Eliot
+
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+  <head>
+    <title>
+      The Project Gutenberg eBook of Ezra Pound: his Metric and Poetry, by T. S.
+      Eliot
+    </title>
+    <style type="text/css" xml:space="preserve">
+
+    body { margin:5%; background:#faebd0; text-align:justify}
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+    .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; }
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+    .mynote    {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;}
+    .toc       { margin-left: 10%; margin-bottom: .75em;}
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+    .pagenum   {display:inline; font-size: 70%; font-style:normal;
+               margin: 0; padding: 0; position: absolute; right: 1%;
+               text-align: right;}
+    pre        { font-style: italic; font-size: 90%; margin-left: 10%;}
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+<pre>
+
+Project Gutenberg's Ezra Pound: His Metric and Poetry, by T. S. Eliot
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Ezra Pound: His Metric and Poetry
+
+Author: T. S. Eliot
+
+
+Release Date: January, 2005 [EBook #7275]
+This file was first posted on April 6, 2003
+Last Updated: April 23, 2013
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EZRA POUND: HIS METRIC AND POETRY ***
+
+
+
+
+Text files produced by Andrea Ball, David Starner, Charles Franks,
+Juliet Sutherland, and the Online Distributed Proofreading
+Team
+
+HTML file produced by David Widger
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+
+</pre>
+
+    <div style="height: 8em;">
+      <br /><br /><br /><br /><br /><br /><br /><br />
+    </div>
+    <h1>
+      EZRA POUND: HIS METRIC AND POETRY
+    </h1>
+    <p>
+      <br />
+    </p>
+    <h2>
+      By T. S. Eliot
+    </h2>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br />
+    </p>
+    <p>
+      <b>CONTENTS</b>
+    </p>
+    <p class="toc">
+      <a href="#link2H_4_0001"> BOOKS BY EZRA POUND </a>
+    </p>
+    <p class="toc">
+      <a href="#link2H_4_0002"> EZRA POUND: HIS METRIC AND POETRY </a>
+    </p>
+    <p class="toc">
+      <a href="#link2H_BIBL"> BIBLIOGRAPHY OF BOOKS </a>
+    </p>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      BOOKS BY EZRA POUND
+    </h2>
+    <p>
+      PROVENÇA, being poems selected from Personae, Exultations, and Canzoniere.
+      (Small, Maynard, Boston, 1910)
+    </p>
+    <p>
+      THE SPIRIT OF ROMANCE: An attempt to define somewhat the charm of the
+      pre-renaissance literature of Latin-Europe. (Dent, London, 1910; and
+      Dutton, New York)
+    </p>
+    <p>
+      THE SONNETS AND BALLATE OF GUIDO CAVALCANTI. (Small, Maynard, Boston,
+      1912)
+    </p>
+    <p>
+      RIPOSTES. (Swift, London, 1912; and Mathews, London, 1913)
+    </p>
+    <p>
+      DES IMAGISTES: An anthology of the Imagists, Ezra Pound, Aldington, Amy
+      Lowell, Ford Maddox Hueffer, and others
+    </p>
+    <p>
+      GAUDIER-BRZESKA: A memoir. (John Lane, London and New York, 1916)
+    </p>
+    <p>
+      NOH: A study of the Classical Stage of Japan with Ernest Fenollosa.
+      (Alfred A. Knopf, New York, 1917; and Macmillan, London, 1917)
+    </p>
+    <p>
+      LUSTRA with Earlier Poems. (Alfred A. Knopf, New York, 1917)
+    </p>
+    <p>
+      PAVANNES AHD DIVISIONS. (Prose. In preparation: Alfred A. Knopf, New York)
+    </p>
+    <p>
+      <br /> <br />
+    </p>
+    <hr />
+    <p>
+      <br /> <br /> <a name="link2H_4_0002" id="link2H_4_0002">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      EZRA POUND: HIS METRIC AND POETRY
+    </h2>
+    <h3>
+      I
+    </h3>
+    <p>
+      "All talk on modern poetry, by people who know," wrote Mr. Carl Sandburg
+      in <i>Poetry</i>, "ends with dragging in Ezra Pound somewhere. He may be
+      named only to be cursed as wanton and mocker, poseur, trifler and vagrant.
+      Or he may be classed as filling a niche today like that of Keats in a
+      preceding epoch. The point is, he will be mentioned."
+    </p>
+    <p>
+      This is a simple statement of fact. But though Mr. Pound is well known,
+      even having been the victim of interviews for Sunday papers, it does not
+      follow that his work is thoroughly known. There are twenty people who have
+      their opinion of him for every one who has read his writings with any
+      care. Of those twenty, there will be some who are shocked, some who are
+      ruffled, some who are irritated, and one or two whose sense of dignity is
+      outraged. The twenty-first critic will probably be one who knows and
+      admires some of the poems, but who either says: "Pound is primarily a
+      scholar, a translator," or "Pound's early verse was beautiful; his later
+      work shows nothing better than the itch for advertisement, a mischievous
+      desire to be annoying, or a childish desire to be original." There is a
+      third type of reader, rare enough, who has perceived Mr. Pound for some
+      years, who has followed his career intelligently, and who recognizes its
+      consistency.
+    </p>
+    <p>
+      This essay is not written for the first twenty critics of literature, nor
+      for that rare twenty-second who has just been mentioned, but for the
+      admirer of a poem here or there, whose appreciation is capable of yielding
+      him a larger return. If the reader is already at the stage where he can
+      maintain at once the two propositions, "Pound is merely a scholar" and
+      "Pound is merely a yellow journalist," or the other two propositions,
+      "Pound is merely a technician" and "Pound is merely a prophet of chaos,"
+      then there is very little hope. But there are readers of poetry who have
+      not yet reached this hypertrophy of the logical faculty; their attention
+      might be arrested, not by an outburst of praise, but by a simple
+      statement. The present essay aims merely at such a statement. It is not
+      intended to be either a biographical or a critical study. It will not
+      dilate upon "beauties"; it is a summary account of ten years' work in
+      poetry. The citations from reviews will perhaps stimulate the reader to
+      form his own opinion. We do not wish to form it for him. Nor shall we
+      enter into other phases of Mr. Pound's activity during this ten years; his
+      writings and views on art and music; though these would take an important
+      place in any comprehensive biography.
+    </p>
+    <h3>
+      II
+    </h3>
+    <p>
+      Pound's first book was published in Venice. Venice was a halting point
+      after he had left America and before he had settled in England, and here,
+      in 1908, "A Lume Spento" appeared. The volume is now a rarity of
+      literature; it was published by the author and made at a Venetian press
+      where the author was able personally to supervise the printing; on paper
+      which was a remainder of a supply which had been used for a History of the
+      Church. Pound left Venice in the same year, and took "A Lume Spento" with
+      him to London. It was not to be expected that a first book of verse,
+      published by an unknown American in Venice, should attract much attention.
+      The "Evening Standard" has the distinction of having noticed the volume,
+      in a review summing it up as:
+    </p>
+<pre xml:space="preserve">
+    wild and haunting stuff, absolutely poetic, original,
+    imaginative, passionate, and spiritual. Those who do not
+    consider it crazy may well consider it inspired. Coming
+    after the trite and decorous verse of most of our decorous
+    poets, this poet seems like a minstrel of Provençe at a
+    suburban musical evening.... The unseizable magic of poetry
+    is in the queer paper volume, and words are no good in
+    describing it.
+</pre>
+    <p>
+      As the chief poems in "A Lume Spento" were afterwards incorporated in
+      "Personae," the book demands mention only as a date in the author's
+      history. "Personae," the first book published in London, followed early in
+      1909. Few poets have undertaken the siege of London with so little
+      backing; few books of verse have ever owed their success so purely to
+      their own merits. Pound came to London a complete stranger, without either
+      literary patronage or financial means. He took "Personae" to Mr. Elkin
+      Mathews, who has the glory of having published Yeats' "Wind Among the
+      Reeds," and the "Books of the Rhymers' Club," in which many of the poets
+      of the '90s, now famous, found a place. Mr. Mathews first suggested, as
+      was natural to an unknown author, that the author should bear part of the
+      cost of printing. "I have a shilling in my pocket, if that is any use to
+      you," said the latter. "Well," said Mr. Mathews, "I want to publish it
+      anyway." His acumen was justified. The book was, it is true, received with
+      opposition, but it was received. There were a few appreciative critics,
+      notably Mr. Edward Thomas, the poet (known also as "Edward Eastaway"; he
+      has since been killed in France). Thomas, writing in the "English Review"
+      (then in its brightest days under the editorship of Ford Madox Hueffer),
+      recognized the first-hand intensity of feeling in "Personae":
+    </p>
+<pre xml:space="preserve">
+    He has ... hardly any of the superficial good qualities of
+    modern versifiers.... He has not the current melancholy or
+    resignation or unwillingness to live; nor the kind of
+    feeling for nature which runs to minute description and
+    decorative metaphor. He cannot be usefully compared with any
+    living writers;... full of personality and with such power
+    to express it, that from the first to the last lines of most
+    of his poems he holds us steadily in his own pure grave,
+    passionate world.... The beauty of it (In Praise of Ysolt)
+    is the beauty of passion, sincerity and intensity, not of
+    beautiful words and images and suggestions ... the thought
+    dominates the words and is greater than they are. Here
+    (Idyll for Glaucus) the effect is full of human passion and
+    natural magic, without any of the phrases which a reader of
+    modern verse would expect in the treatment of such a
+    subject.
+</pre>
+    <p>
+      Mr. Scott James, in the "Daily News," speaks in praise of his metres:
+    </p>
+<pre xml:space="preserve">
+    At first the whole thing may seem to be mere madness and
+    rhetoric, a vain exhibition of force and passion without
+    beauty. But, as we read on, these curious metres of his seem
+    to have a law and order of their own; the brute force of Mr.
+    Pound's imagination seems to impart some quality of
+    infectious beauty to his words. Sometimes there is a strange
+    beating of anapaests when he quickens to his subject; again
+    and again he unexpectedly ends a line with the second half
+    of a reverberant hexameter:
+
+      "Flesh shrouded, bearing the secret."
+
+    ... And a few lines later comes an example of his favourite
+    use of spondee, followed by dactyl and spondee, which comes
+    in strangely and, as we first read it, with the appearance
+    of discord, but afterwards seems to gain a curious and
+    distinctive vigour:
+
+      "Eyes, dreams, lips, and the night goes."
+
+    Another line like the end of a hexameter is
+
+      "But if e'er I come to my love's land."
+</pre>
+    <p>
+      But even so favourable a critic pauses to remark that
+    </p>
+<pre xml:space="preserve">
+    He baffles us by archaic words and unfamiliar metres; he
+    often seems to be scorning the limitations of form and
+    metre, breaking out into any sort of expression which suits
+    itself to his mood.
+</pre>
+    <p>
+      and counsels the poet to "have a little more respect for his art."
+    </p>
+    <p>
+      It is, in fact, just this adaptability of metre to mood, an adaptability
+      due to an intensive study of metre, that constitutes an important element
+      in Pound's technique. Few readers were prepared to accept or follow the
+      amount of erudition which entered into "Personae" and its close successor,
+      "Exultations," or to devote the care to reading them which they demand. It
+      is here that many have been led astray. Pound is not one of those poets
+      who make no demand of the reader; and the casual reader of verse,
+      disconcerted by the difference between Pound's poetry and that on which
+      his taste has been trained, attributes his own difficulties to excessive
+      scholarship on the part of the author. "This," he will say of some of the
+      poems in Provençal form or on Provençal subjects, "is archaeology; it
+      requires knowledge on the part of its reader, and true poetry does not
+      require such knowledge." But to display knowledge is not the same thing as
+      to expect it on the part of the reader; and of this sort of pedantry Pound
+      is quite free. He is, it is true, one of the most learned of poets. In
+      America he had taken up the study of Romance Languages with the intention
+      of teaching. After work in Spain and Italy, after pursuing the Provençal
+      verb from Milan to Freiburg, he deserted the thesis on Lope de Vega and
+      the Ph.D. and the professorial chair, and elected to remain in Europe. Mr.
+      Pound has spoken out his mind from time to time on the subject of
+      scholarship in American universities, its deadness, its isolation from
+      genuine appreciation, and the active creative life of literature. He has
+      always been ready to battle against pedantry. As for his own learning, he
+      has studied poetry carefully, and has made use of his study in his own
+      verse. "Personae" and "Exultations" show his talent for turning his
+      studies to account. He was supersaturated in Provençe; he had tramped over
+      most of the country; and the life of the courts where the Troubadours
+      thronged was part of his own life to him. Yet, though "Personae" and
+      "Exultations" do exact something from the reader, they do not require a
+      knowledge of Provençal or of Spanish or Italian. Very few people know the
+      Arthurian legends well, or even Malory (if they did they might realize
+      that the Idylls of the King are hardly more important than a parody, or a
+      "Chaucer retold for Children"); but no one accuses Tennyson of needing
+      footnotes, or of superciliousness toward the uninstructed. The difference
+      is merely in what people are prepared for; most readers could no more
+      relate the myth of Atys correctly than they could give a biography of
+      Bertrand de Born. It is hardly too much to say that there is no poem in
+      these volumes of Mr. Pound which needs fuller explanation than he gives
+      himself. What the poems do require is a trained ear, or at least the
+      willingness to be trained.
+    </p>
+    <p>
+      The metres and the use of language are unfamiliar. There are certain
+      traces of modern influence. We cannot agree with Mr. Scott-James that
+      among these are "W. E. Henley, Kipling, Chatterton, and especially Walt
+      Whitman"&mdash;least of all Walt Whitman. Probably there are only two:
+      Yeats and Browning. Yeats in "La Fraisne," in "Personae," for instance, in
+      the attitude and somewhat in the vocabulary:
+    </p>
+<pre xml:space="preserve">
+  I wrapped my tears in an ellum leaf
+  And left them under a stone,
+  And now men call me mad because I have thrown
+  All folly from me, putting it aside
+  To leave the old barren ways of men ...
+</pre>
+    <p>
+      For Browning, Mr. Pound has always professed strong admiration (see
+      "Mesmerism" in "Personae"); there are traces of him in "Cino" and "Famam
+      Librosque Cano," in the same volume. But it is more profitable to comment
+      upon the variety of metres and the original use of language.
+    </p>
+    <p>
+      Ezra Pound has been fathered with vers libre in English, with all its
+      vices and virtues. The term is a loose one&mdash;any verse is called
+      "free" by people whose ears are not accustomed to it&mdash;in the second
+      place, Pound's use of this medium has shown the temperance of the artist,
+      and his belief in it as a vehicle is not that of the fanatic. He has said
+      himself that when one has the proper material for a sonnet, one should use
+      the sonnet form; but that it happens very rarely to any poet to find
+      himself in possession of just the block of stuff which can perfectly be
+      modelled into the sonnet. It is true that up to very recently it was
+      impossible to get free verse printed in any periodical except those in
+      which Pound had influence; and that now it is possible to print free verse
+      (second, third, or tenth-rate) in almost any American magazine. Who is
+      responsible for the bad free verse is a question of no importance,
+      inasmuch as its authors would have written bad verse in any form; Pound
+      has at least the right to be judged by the success or failure of his own.
+      Pound's vers libre is such as is only possible for a poet who has worked
+      tirelessly with rigid forms and different systems of metric. His "Canzoni"
+      are in a way aside from his direct line of progress; they are much more
+      nearly studies in mediaeval appreciation than any of his other verse; but
+      they are interesting, apart from their merit, as showing the poet at work
+      with the most intricate Provençal forms&mdash;so intricate that the
+      pattern cannot be exhibited without quoting an entire poem. (M. Jean de
+      Bosschere, whose French is translated in the "Egoist," has already called
+      attention to the fact that Pound was the first writer in English to use
+      five Provençal forms.) Quotation will show, however, the great variety of
+      rhythm which Pound manages to introduce into the ordinary iambic
+      pentameter:
+    </p>
+<pre xml:space="preserve">
+  Thy gracious ways,
+                    O lady of my heart, have
+  O'er all my thought their golden glamour cast;
+  As amber torch-flames, where strange men-at-arms
+  Tread softly 'neath the damask shield of night,
+  Rise from the flowing steel in part reflected,
+  So on my mailed thought that with thee goeth,
+  Though dark the way, a golden glamour falleth.
+</pre>
+    <p>
+      Within the iambic limits, there are no two lines in the whole poem that
+      have an identical rhythm.
+    </p>
+    <p>
+      We turn from this to a poem in "Exultations," the "Night Litany":
+    </p>
+<pre xml:space="preserve">
+  O God, what great kindness
+            have we done in times past
+            and forgotten it,
+  That thou givest this wonder unto us,
+            O God of waters?
+
+  O God of the night
+            What great sorrow
+  Cometh unto us,
+            That thou thus repayest us
+  Before the time of its coming?
+</pre>
+    <p>
+      There is evident, and more strongly in certain later poems, a tendency
+      toward quantitative measure. Such a "freedom" as this lays so heavy a
+      burden upon every word in a line that it becomes impossible to write like
+      Shelley, leaving blanks for the adjectives, or like Swinburne, whose
+      adjectives are practically blanks. Other poets have manipulated a great
+      variety of metres and forms; but few have studied the forms and metres
+      which they use so carefully as has Pound. His ballad of the "Goodly Fere"
+      shows great knowledge of the ballad form:
+    </p>
+<pre xml:space="preserve">
+  I ha' seen him cow a thousand men
+  On the hills o' Galilee,
+  They whined as he walked out calm between
+  Wi' his eyes like the grey o' the sea.
+
+  Like the sea that brooks no voyaging
+  With the winds unleashed and free,
+  Like the sea that he cowed at Genseret
+  Wi' twey words spoke suddently.
+
+  A master of men was the Goodly Fere
+  A mate of the wind and sea,
+  If they think they ha' slain our Goodly Fere
+  They are fools eternally.
+
+  I ha' seen him eat o' the honey-comb
+  Sin' they nailed him to the tree.
+</pre>
+    <p>
+      And from this we turn to a very different form in the "Altaforte," which
+      is perhaps the best sestina that has been written in English:
+    </p>
+<pre xml:space="preserve">
+  Damn it all! all this our South stinks peace.
+  You whoreson dog, Papiols, come! let's to music!
+  I have no life save when the swords clash.
+  But ah! when I see the standards gold, vair, purple, opposing,
+  And the broad fields beneath them turn crimson,
+  Then howl I my heart nigh mad with rejoicing.
+
+  In hot summer have I great rejoicing
+  When the tempests kill the earth's foul peace,
+  And the lightnings from black heaven flash crimson,
+  And the fierce thunders roar me their music
+  And the winds  shriek through the clouds mad, opposing,
+  And through all the riven skies God's swords clash.
+</pre>
+    <p>
+      I have quoted two verses to show the intricacy of the pattern.
+    </p>
+    <p>
+      The Provençal canzon, like the Elizabethan lyric, was written for music.
+      Mr. Pound has more recently insisted, in a series of articles on the work
+      of Arnold Dolmetsch, in the "Egoist," on the importance of a study of
+      music for the poet.
+    </p>
+    <hr />
+    <p>
+      Such a relation between poetry and music is very different from what is
+      called the "music" of Shelley or Swinburne, a music often nearer to
+      rhetoric (or the art of the orator) than to the instrument. For poetry to
+      approach the condition of music (Pound quotes approvingly the dictum of
+      Pater) it is not necessary that poetry should be destitute of meaning.
+      Instead of slightly veiled and resonant abstractions, like
+    </p>
+<pre xml:space="preserve">
+  Time with a gift of tears,
+  Grief with a glass that ran&mdash;
+</pre>
+    <p>
+      of Swinburne, or the mossiness of Mallarmé, Pound's verse is always
+      definite and concrete, because he has always a definite emotion behind it.
+    </p>
+<pre xml:space="preserve">
+  Though I've roamed through many places,
+  None there is that my heart troweth
+  Fair as that wherein fair groweth
+  One whose laud here interlaces
+  Tuneful words, that I've essayed.
+  Let this tune be gently played
+  Which my voice herward upraises.
+</pre>
+    <p>
+      At the end of this poem the author appends the note:
+    </p>
+<pre xml:space="preserve">
+    The form and measure are those of Piere Vidal's "<i>Ab
+    l'alen tir vas me l'aire</i>." The song is fit only to be
+    sung, and is not to be spoken.
+</pre>
+    <p>
+      There are, here and there, deliberate archaisms or oddities (e.g.,
+      "herward"); there are deliberately arbitrary images, having their place in
+      the total effect of the poem:
+    </p>
+<pre xml:space="preserve">
+  Red leaf that art blown upward and out and over
+  The green sheaf of the world ...
+
+  The lotos that pours
+  Her fragrance into the purple cup ...
+
+  Black lightning ... (in a more recent poem)
+</pre>
+    <p>
+      but no word is ever chosen merely for the tinkle; each has always its part
+      in producing an impression which is produced always through language.
+      Words are perhaps the hardest of all material of art: for they must be
+      used to express both visual beauty and beauty of sound, as well as
+      communicating a grammatical statement. It would be interesting to compare
+      Pound's use of images with Mallarmé's; I think it will be found that the
+      former's, by the contrast, will appear always sharp in outline, even if
+      arbitrary and not photographic. Such images as those quoted above are as
+      precise in their way as
+    </p>
+<pre xml:space="preserve">
+  Sur le Noel, morte saison,
+  Lorsque les loups vivent de vent ...
+</pre>
+    <p>
+      and the rest of that memorable Testament.
+    </p>
+    <p>
+      So much for the imagery. As to the "freedom" of his verse, Pound has made
+      several statements in his articles on Dolmetsch which are to the point:
+    </p>
+<pre xml:space="preserve">
+    Any work of art is a compound of freedom and order. It is
+    perfectly obvious that art hangs between chaos on the one
+    side and mechanics on the other. A pedantic insistence upon
+    detail tends to drive out "major form." A firm hold on major
+    form makes for a freedom of detail. In painting men intent
+    on minutiae gradually lost the sense of form and form-
+    combination. An attempt to restore this sense is branded as
+    "revolution." It is revolution in the philological sense of
+    the term....
+
+    Art is a departure from fixed positions; felicitous
+    departure from a norm....
+</pre>
+    <p>
+      The freedom of Pound's verse is rather a state of tension due to constant
+      opposition between free and strict. There are not, as a matter of fact,
+      two kinds of verse, the strict and the free; there is only a mastery which
+      comes of being so well trained that form is an instinct and can be adapted
+      to the particular purpose in hand.
+    </p>
+    <hr />
+    <p>
+      After "Exultations" came the translation of the "Sonnets and Ballate of
+      Guido Cavalcanti." It is worth noting that the writer of a long review in
+      the "<i>Quest</i>"&mdash;speaking in praise of the translation, yet found
+      fault with the author not on the ground of excessive mediaevalism, but
+      because
+    </p>
+<pre xml:space="preserve">
+    he is concerned rather with the future than with a somewhat
+    remote past, so that in spite of his love for the mediaeval
+    poets, his very accomplishment as a distinctly modern poet
+    makes against his success as a wholly acceptable translator
+    of Cavalcanti, the heir of the Troubadours, the scholastic.
+</pre>
+    <p>
+      Yet the <i>Daily News</i>, in criticising "Canzoni," had remarked that Mr.
+      Pound
+    </p>
+<pre xml:space="preserve">
+    seems to us rather a scholar than a poet, and we should like
+    to see him giving his unusual talent more to direct
+    translation from the Provençal.
+</pre>
+    <p>
+      and Mr. J. C. Squire (now the literary editor of the <i>New Statesman</i>),
+      in an appreciative review in the <i>New Age</i>, had counselled the poet
+      that he would
+    </p>
+<pre xml:space="preserve">
+    gain and not lose if he could forget all about the poets of
+    Dante's day, their roses and their flames, their gold and
+    their falcons, and their literary amorousness, and walk out
+    of the library into the fresh air.
+</pre>
+    <p>
+      In "Ripostes" there are traces of a different idiom. Superficially, the
+      work may appear less important. The diction is more restrained, the
+      flights shorter, the dexterity of technique is less arresting. By romantic
+      readers the book would be considered less "passionate." But there is a
+      much more solid substratum to this book; there is more thought; greater
+      depth, if less agitation on the surface. The effect of London is apparent;
+      the author has become a critic of men, surveying them from a consistent
+      and developed point of view; he is more formidable and disconcerting; in
+      short, much more mature. That he abandons nothing of his technical skill
+      is evident from the translation from the Anglo-Saxon, the "Seafarer." It
+      is not a slight achievement to have brought to life alliterative verse:
+      perhaps the "Seafarer" is the only successful piece of alliterative verse
+      ever written in modern English; alliterative verse which is not merely a
+      clever tour de force, but which suggests the possibility of a new
+      development of this form. Mr. Richard Aldington (whose own accomplishments
+      as a writer of vers libre qualify him to speak) called the poem
+      "unsurpassed and unsurpassable," and a writer in the <i>New Age</i> (a
+      literary organ which has always been strongly opposed to metrical
+      innovations) called it "one of the finest literary works of art produced
+      in England during the last ten years." And the rough, stern beauty of the
+      Anglo-Saxon, we may remark, is at the opposite pole from that of the
+      Provençal and Italian poets to whom Pound had previously devoted his
+      attention.
+    </p>
+<pre xml:space="preserve">
+  May I for my own self song's truth reckon,
+  Journey's jargon, how I in harsh days
+  Hardship endured oft.
+</pre>
+    <p>
+      But we can notice in "Ripostes" other evidences than of versatility only;
+      certain poems show Mr. Pound turning to more modern subjects, as in the
+      "Portrait d'une femme," or the mordant epigram, "An Object." Many readers
+      are apt to confuse the maturing of personality with desiccation of the
+      emotions. There is no desiccation in "Ripostes." This should be evident to
+      anyone who reads carefully such a poem as "A Girl." We quote it entire
+      without comment.
+    </p>
+<pre xml:space="preserve">
+  The tree has entered my hands,
+  The sap has ascended my arms,
+  The tree has grown in my breast&mdash;
+  Downward,
+  The branches grow out of me, like arms.
+
+  Tree you are,
+  Moss you are,
+  You are violets with wind above them.
+  A child&mdash;<i>so</i> high&mdash;you are,
+  And all this is folly to the world.
+</pre>
+    <p>
+      "The Return" is an important study in verse which is really quantitative.
+      We quote only a few lines:
+    </p>
+<pre xml:space="preserve">
+  See, they return; ah, see the tentative
+  Movements, and the slow feet,
+  The trouble in the pace and the uncertain
+  Wavering!
+</pre>
+    <p>
+      "Ripostes" belongs to the period when Mr. Pound was being attacked because
+      of his propaganda. He became known as the inventor of "Imagism," and
+      later, as the "High Priest of Vorticism." As a matter of fact, the actual
+      "propaganda" of Mr. Pound has been very small in quantity. The impression
+      which his personality made, however, is suggested by the following note in
+      "<i>Punch</i>," which is always a pretty reliable barometer of the English
+      middle-class Grin:
+    </p>
+<pre xml:space="preserve">
+    Mr. Welkin Mark (exactly opposite Long Jane's) begs to
+    announce that he has secured for the English market the
+    palpitating works of the new Montana (U.S.A.) poet, Mr.
+    Ezekiel Ton, who is the most remarkable thing in poetry
+    since Robert Browning. Mr. Ton, who has left America to
+    reside for a while in London and impress his personality on
+    English editors, publishers and readers, is by far the
+    newest poet going, whatever other advertisements may say. He
+    has succeeded, where all others have failed, in evolving a
+    blend of the imagery of the unfettered West, the vocabulary
+    of Wardour Street, and the sinister abandon of Borgiac
+    Italy.
+</pre>
+    <p>
+      In 1913, someone writing to the New York <i>Nation</i> from the University
+      of Illinois, illustrates the American, more serious, disapproval. This
+      writer begins by expressing his objections to the "principle of Futurism."
+      (Pound has perhaps done more than anyone to keep Futurism out of England.
+      His antagonism to this movement was the first which was not due merely to
+      unintelligent dislike for anything new, and was due to his perception that
+      Futurism was incompatible with any principles of form. In his own words,
+      Futurism is "accelerated impressionism.") The writer in the <i>Nation</i>
+      then goes on to analyze the modern "hypertrophy of romanticism" into
+    </p>
+<pre xml:space="preserve">
+  The exaggeration of the importance of a personal emotion.
+  The abandonment of all standards of form.
+  The suppression of all evidence that a particular composition
+  is animated by any directing intelligence.
+</pre>
+    <p>
+      As for the first point, here are Mr. Pound's words in answer to the
+      question, "do you agree that the great poet is never emotional?"
+    </p>
+<pre xml:space="preserve">
+    Yes, absolutely; if by emotion is meant that he is at the
+    mercy of every passing mood.... The only kind of emotion
+    worthy of a poet is the inspirational emotion which
+    energises and strengthens, and which is very remote from the
+    everyday emotion of sloppiness and sentiment....
+</pre>
+    <p>
+      And as for the platform of Imagism, here are a few of Pound's "Don'ts for
+      Imagists":
+    </p>
+<pre xml:space="preserve">
+    Pay no attention to the criticisms of men who have never
+    themselves written a notable work.
+
+    Use no superfluous word and no adjective which does not
+    reveal something.
+
+    Go in fear of abstractions. Don't retail in mediocre verse
+    what has already been done in good prose.
+
+    Don't imagine that the art of poetry is any simpler than the
+    art of music or that you can please the expert before you
+    have spent at least as much effort on the art of verse as
+    the average piano teacher spends on the art of music.
+
+    Be influenced by as many great artists as you can, but have
+    the decency either to acknowledge the debt outright or try
+    to conceal it.
+
+    Consider the definiteness of Dante's presentation as
+    compared with Milton's. Read as much of Wordsworth as does
+    not seem to be unutterably dull.
+
+    If you want the gist of the matter go to Sappho, Catullus,
+    Villon when he is in the vein, Gautier when he is not too
+    frigid, or if you have not the tongues seek out the
+    leisurely Chaucer.
+
+    Good prose will do you no harm. There is good discipline to
+    be had by trying to write it. Translation is also good
+    training.
+</pre>
+    <p>
+      The emphasis here is certainly on discipline and form. The Chicago <i>Tribune</i>
+      recognized this as "sound sense," adding:
+    </p>
+<pre xml:space="preserve">
+    If this is Imagism ... we are for establishing Imagism by
+    constitutional amendment and imprisoning without recourse to
+    ink or paper all "literary" ladies or gents who break any of
+    these canons.
+</pre>
+    <p>
+      But other reviewers were less approving. While the writer in the <i>Nation</i>,
+      quoted above, dreads the anarchy impending, Mr. William Archer was
+      terrified at the prospect of hieratic formalisation. Mr. Archer believes
+      in the simple untaught muse:
+    </p>
+<pre xml:space="preserve">
+    Mr. Pound's commandments tend too much to make of poetry a
+    learned, self-conscious craft, to be cultivated by a guild
+    of adepts, from whose austere laboratories spontaneity and
+    simplicity are excluded.... A great deal of the best poetry
+    in the world has very little technical study behind it....
+    There are scores and hundreds of people in England who could
+    write this simple metre (i.e. of "A Shropshire Lad")
+    successfully.
+</pre>
+    <p>
+      To be hanged for a cat and drowned for a rat is, perhaps, sufficient
+      exculpation.
+    </p>
+    <p>
+      Probably Mr. Pound has won odium not so much by his theories as by his
+      unstinted praise of certain contemporary authors whose work he has liked.
+      Such expressions of approval are usually taken as a grievance&mdash;much
+      more so than any personal abuse, which is comparatively a compliment&mdash;by
+      the writers who escape his mention. He does not say "A., B., and C. are
+      bad poets or novelists," but when he says "The work of X., Y., and Z. is
+      in such and such respects the most important work in verse (or prose)
+      since so and so," then A., B., and C. are aggrieved. Also, Pound has
+      frequently expressed disapproval of Milton and Wordsworth.
+    </p>
+    <p>
+      After "Ripostes," Mr. Pound's idiom has advanced still farther. Inasmuch
+      as "Cathay," the volume of translations from the Chinese, appeared prior
+      to "Lustra," it is sometimes thought that his newer idiom is due to the
+      Chinese influence. This is almost the reverse of the truth. The late
+      Ernest Fenollosa left a quantity of manuscripts, including a great number
+      of rough translations (literally exact) from the Chinese. After certain
+      poems subsequently incorporated in "Lustra" had appeared in "Poetry," Mrs.
+      Fenollosa recognized that in Pound the Chinese manuscripts would find the
+      interpreter whom her husband would have wished; she accordingly forwarded
+      the papers for him to do as he liked with. It is thus due to Mrs.
+      Fenollosa's acumen that we have "Cathay"; it is not as a consequence of
+      "Cathay" that we have "Lustra." This fact must be borne in mind.
+    </p>
+    <p>
+      Poems afterward embodied in "Lustra" appeared in "Poetry," in April, 1913,
+      under the title of "Contemporanea." They included among others "Tenzone,"
+      "The Condolence," "The Garret," "Salutation the Second," and "Dance
+      Figure."
+    </p>
+    <p>
+      There are influences, but deviously. It is rather a gradual development of
+      experience into which literary experiences have entered. These have not
+      brought the bondage of temporary enthusiasms, but have liberated the poet
+      from his former restricted sphere. There is Catullus and Martial, Gautier,
+      Laforgue and Tristan Corbière. Whitman is certainly not an influence;
+      there is not a trace of him anywhere; Whitman and Mr. Pound are antipodean
+      to each other. Of "Contemporanea" the <i>Chicago Evening Post</i>
+      discriminatingly observed:
+    </p>
+<pre xml:space="preserve">
+    Your poems in the April <i>Poetry</i> are so mockingly, so
+    delicately, so unblushingly beautiful that you seem to have
+    brought back into the world a grace which (probably) never
+    existed, but which we discover by an imaginative process in
+    Horace and Catullus.
+</pre>
+    <p>
+      It was a true insight to ally Pound to the Latin, not to the Greek poets.
+    </p>
+    <p>
+      Certain of the poems in "Lustra" have offended admirers of the verse of
+      the "Personae" period. When a poet alters or develops, many of his
+      admirers are sure to drop off. Any poet, if he is to survive as a writer
+      beyond his twenty-fifth year, must alter; he must seek new literary
+      influences; he will have different emotions to express. This is
+      disconcerting to that public which likes a poet to spin his whole work out
+      of the feelings of his youth; which likes to be able to open a new volume
+      of his poems with the assurance that they will be able to approach it
+      exactly as they approached the preceding. They do not like that constant
+      readjustment which the following of Mr. Pound's work demands. Thus has
+      "Lustra" been a disappointment to some; though it manifests no falling off
+      in technique, and no impoverishment of feeling. Some of the poems
+      (including several of the "Contemporanea") are a more direct statement of
+      views than Pound's verse had ever given before. Of these poems, M. Jean de
+      Bosschère writes:
+    </p>
+<pre xml:space="preserve">
+    Everywhere his poems incite man to exist, to profess a
+    becoming egotism, without which there can be no real
+    altruism.
+
+      I beseech you enter your life.
+      I beseech you learn to say "I"
+      When I question you.
+      For you are no part, but a whole;
+      No portion, but a being.
+
+    ... One must be capable of reacting to stimuli for a moment,
+    as a real, live person, even in face of as much of one's own
+    powers as are arrayed against one;... The virile complaint,
+    the revolt of the poet, all which shows his emotion,&mdash;that
+    is poetry.
+
+      Speak against unconscious oppression,
+      Speak against the tyranny of the unimaginative,
+      Speak against bonds.
+
+        Be against all forms of oppression,
+        Go out and defy opinion.
+
+    This is the old cry of the poet, but more precise, as an
+    expression of frank disgust:
+
+      Go to the adolescent who are smothered in family.
+      O, how hideous it is
+      To see three generations of one house gathered together!
+      It is like an old tree without shoots,
+      And with some branches rotted and falling.
+
+    Each poem holds out these cries of revolt or disgust, but
+    they are the result of his still hoping and feeling:
+
+    Let us take arms against this sea of stupidities. Pound ...
+    has experience of the folly of the Philistines who read his
+    verse. Real pain is born of this stupid interpretation, and
+    one does not realize how deep it is unless one can feel,
+    through the ejaculations and the laughter, what has caused
+    these wounds, which are made deeper by what he knows, and
+    what he has lost....
+
+    The tone, which is at once jocund and keen, is one of
+    Pound's qualities. Ovid, Catullus&mdash;he does not disown them.
+    He only uses these accents for his familiars; with the
+    others he is on the edge of paradox, pamphleteering, indeed
+    of abuse....
+</pre>
+    <p>
+      This is the proper approach to the poems at the beginning of "Lustra," and
+      to the short epigrams, which some readers find "pointless," or certainly
+      "not poetry." They should read, then, the "Dance Figure," or "Near
+      Périgord," and remember that all these poems come out of the same man.
+    </p>
+<pre xml:space="preserve">
+  Thine arms are as a young sapling under the bark;
+  Thy face as a river with lights.
+
+  White as an almond are thy shoulders;
+  As new almonds stripped from the husk.
+</pre>
+    <p>
+      Or the ending of "Near Périgord":
+    </p>
+<pre xml:space="preserve">
+  Bewildering spring, and by the Auvezère
+  Poppies and day's-eyes in the green émail
+  Rose over us; and we knew all that stream,
+  And our two horses had traced out the valleys;
+  Knew the low flooded lands squared out with poplars,
+  In the young days when the deep sky befriended.
+  And great wings beat above us in the twilight,
+  And the great wheels in heaven
+  Bore us together ... surging ... and apart ...
+  Believing we should meet with lips and hands ...
+
+  There shut up in his castle, Tairiran's,
+  She who had nor ears nor tongue save in her hands,
+  Gone, ah, gone&mdash;untouched, unreachable!
+  She who could never live save through one person,
+  She who could never speak save to one person,
+  And all the rest of her a shifting change,
+  A broken bundle of mirrors...!
+</pre>
+    <p>
+      Then turn at once to "To a Friend Writing on Cabaret Dancers."
+    </p>
+    <p>
+      It is easy to say that the language of "Cathay" is due to the Chinese. If
+      one looks carefully at (1) Pound's other verse, (2) other people's
+      translations from the Chinese (e.g., Giles's), it is evident that this is
+      not the case. The language was ready for the Chinese poetry. Compare, for
+      instance, a passage from "Provincia Deserta":
+    </p>
+<pre xml:space="preserve">
+  I have walked
+               into Périgord
+  I have seen the torch-flames, high-leaping,
+  Painting the front of that church,&mdash;
+  And, under the dark, whirling laughter,
+  I have looked back over the stream
+               and seen the high building,
+  Seen the long minarets, the white shafts.
+  I have gone in Ribeyrac,
+               and in Sarlat.
+  I have climbed rickety stairs, heard talk of Croy,
+  Walked over En Bertran's old layout,
+  Have seen Narbonne, and Cahors and Chalus,
+  Have seen Excideuil, carefully fashioned.
+</pre>
+    <p>
+      with a passage from "The River Song":
+    </p>
+<pre xml:space="preserve">
+  He goes out to Hori, to look at the wing-flapping storks,
+  He returns by way of Sei rock, to hear the new nightingales,
+  For the gardens at Jo-run are full of new nightingales,
+  Their sound is mixed in this flute,
+  Their voice is in the twelve pipes here.
+</pre>
+    <p>
+      It matters very little how much is due to Rihaku and how much to Pound.
+      Mr. Ford Madox Hueffer has observed: "If these are original verses, then
+      Mr. Pound is the greatest poet of this day." He goes on to say:
+    </p>
+<pre xml:space="preserve">
+    The poems in "Cathay" are things of a supreme beauty. What
+    poetry should be, that they are. And if a new breath of
+    imagery and handling can do anything for our poetry, that
+    new breath these poems bring....
+
+    Poetry consists in so rendering concrete objects that the
+    emotions produced by the objects shall arise in the
+    reader....
+
+    Where have you better rendered, or more permanently
+    beautiful a rendering of, the feelings of one of those
+    lonely watchers, in the outposts of progress, whether it be
+    Ovid in Hyrcania, a Roman sentinel upon the great wall of
+    this country, or merely ourselves, in the lonely recesses of
+    our minds, than the "Lament of the Frontier Guard"?...
+
+    Beauty is a very valuable thing; perhaps it is the most
+    valuable thing in life; but the power to express emotion so
+    that it shall communicate itself intact and exactly is
+    almost more valuable. Of both these qualities Mr. Pound's
+    book is very full. Therefore, I think we may say that this
+    is much the best work he has done, for, however closely he
+    may have followed his originals&mdash;and of that most of us have
+    no means of judging&mdash;there is certainly a good deal of Mr.
+    Pound in this little volume.
+</pre>
+    <p>
+      "Cathay" and "Lustra" were followed by the translations of Noh plays. The
+      Noh are not so important as the Chinese poems (certainly not so important
+      for English); the attitude is less unusual to us; the work is not so
+      solid, so firm. "Cathay" will, I believe, rank with the "Sea-Farer" in the
+      future among Mr. Pound's original work; the Noh will rank among his
+      translations. It is rather a dessert after "Cathay." There are, however,
+      passages which, as Pound has handled them, are different both from the
+      Chinese and from anything existent in English. There is, for example, the
+      fine speech of the old Kagekiyo, as he thinks of his youthful valour:
+    </p>
+<pre xml:space="preserve">
+    He thought, how easy this killing. He rushed with his
+    spearshaft gripped under his arm. He cried out, "I am
+    Kagekiyo of the Heike." He rushed on to take them. He
+    pierced through the helmet vizards of Miyanoya. Miyanoya
+    fled twice, and again; and Kagekiyo cried: "You shall not
+    escape me!" He leaped and wrenched off his helmet. "Eya!"
+    The vizard broke and remained in his hand, and Miyanoya
+    still fled afar, and afar, and he looked back crying in
+    terror, "How terrible, how heavy your arm!" And Kagekiyo
+    called at him, "How tough the shaft of your neck is!" And
+    they both laughed out over the battle, and went off each his
+    own way.
+</pre>
+    <p>
+      The "Times Literary Supplement" spoke of Mr. Pound's "mastery of beautiful
+      diction" and his "cunningly rhythmically prose," in its review of the
+      "Noh."
+    </p>
+    <p>
+      Even since "Lustra," Mr. Pound has moved again. This move is to the epic,
+      of which three cantos appear in the American "Lustra" (they have already
+      appeared in "Poetry"&mdash;Miss Monroe deserves great honour for her
+      courage in printing an epic poem in this twentieth century&mdash;but the
+      version in "Lustra" is revised and is improved by revision). We will leave
+      it as a test: when anyone has studied Mr. Pound's poems in <i>chronological</i>
+      order, and has mastered "Lustra" and "Cathay," he is prepared for the
+      Cantos&mdash; but not till then. If the reader then fails to like them, he
+      has probably omitted some step in his progress, and had better go back and
+      retrace the journey.
+    </p>
+    <p>
+      <a name="link2H_BIBL" id="link2H_BIBL">
+      <!--  H2 anchor --> </a>
+    </p>
+    <div style="height: 4em;">
+      <br /><br /><br /><br />
+    </div>
+    <h2>
+      BIBLIOGRAPHY OF BOOKS
+    </h2>
+    <h3>
+      AND PARTIAL BIBLIOGRAPHY OF NOTABLE CRITICAL ARTICLES BY EZRA POUND
+    </h3>
+    <h3>
+      POEMS
+    </h3>
+    <p>
+      A LUME SPENTO (100 copies). Antonelli, Venice, June, 1908.
+    </p>
+<pre xml:space="preserve">
+A QUINZAINE FOR THIS YULE.
+  First 100 printed by Pollock, London, December, 1908.
+
+  Second 100 published under Elkin Mathews' imprint, London,
+    December, 1908.
+</pre>
+    <p>
+      PERSONAE. Mathews, London, Spring, 1909.
+    </p>
+    <p>
+      EXULTATIONS. Mathews, London, Autumn, 1909.
+    </p>
+    <h3>
+      PROSE
+    </h3>
+    <p>
+      THE SPIRIT OF ROMANCE. Dent, London, 1910.
+    </p>
+    <h3>
+      POEMS
+    </h3>
+<pre xml:space="preserve">
+PROVENÇA (a selection of poems from "Personae" and
+  "Exultations" with new poems). Small Maynard, Boston, 1910.
+</pre>
+    <p>
+      CANZONI. Mathews, London, 1911.
+    </p>
+<pre xml:space="preserve">
+THE SONNETS AND BALLATE OF GUIDO CAVALCANTI (translated).
+  Small Maynard, Boston, 1912.
+
+  A cheaper edition of the same, Swift and Co., London, 1912.
+  The bulk of this edition destroyed by fire.
+</pre>
+<pre xml:space="preserve">
+RIPOSTES. Swift, London, 1912.
+  (<i>Note</i>.&mdash;This book contains the first announcement of
+  Imagism, in the foreword to the poems of T. E. Hulme.)
+</pre>
+    <h3>
+      OTHER PUBLICATIONS
+    </h3>
+    <p>
+      "A FEW DON'TS BY AN IMAGISTE," in "Poetry," for March, 1913.
+    </p>
+    <p>
+      "CONTEMPORANIA" (poems), in "Poetry," April, 1913.
+    </p>
+    <h3>
+      POEMS
+    </h3>
+<pre xml:space="preserve">
+PERSONAE, EXULTATIONS, CANZONI, RIPOSTES, published in two
+  volumes. Mathews, London, 1913.
+</pre>
+    <p>
+      FIRST OF THE NOTES ON JAMES JOYCE, "Egoist," January, 1914.
+    </p>
+<pre xml:space="preserve">
+FIRST OF THE ARTICLES CONCERNING GAUDIER-BRZESKA, "Egoist,"
+  February, 1914.
+</pre>
+    <h3>
+      OTHER PUBLICATIONS
+    </h3>
+<pre xml:space="preserve">
+"DES IMAGISTES," poems by several authors selected by Ezra
+  Pound, published as a number of "The Glebe," in New York.
+  February, 1914.
+
+  Alfred Kreymborg was at this time editor of "The Glebe." The
+  first arrangements for the anthology were made through the
+  kind offices of John Cournos during the winter of 1912-13.
+
+  The English edition of this anthology published by The Poetry
+  Book Shop. London, 1914.
+</pre>
+    <p>
+      ARTICLE ON WYNDHAM LEWIS, "Egoist," June 15, 1914.
+    </p>
+    <p>
+      CONTRIBUTIONS TO FIRST NUMBER OF "Blast," June 20, 1914.
+    </p>
+<pre xml:space="preserve">
+"VORTICISM," an article in "The Fortnightly Review," September,
+  1914.
+</pre>
+<pre xml:space="preserve">
+"GAUDIER-BRZESKA," an article in "The New Age," February 4,
+  1915.
+</pre>
+    <p>
+      CONTRIBUTIONS to second number of "Blast," 1915.
+    </p>
+    <h3>
+      POEMS
+    </h3>
+<pre xml:space="preserve">
+CATHAY. Mathews, London, April, 1915. (Translations from the
+  Chinese from the notes of Ernest Fenollosa.)
+</pre>
+    <h3>
+      OTHER PUBLICATIONS
+    </h3>
+<pre xml:space="preserve">
+THE CATHOLIC ANTHOLOGY, edited by Ezra Pound. Mathews, London,
+  December, 1915.
+</pre>
+    <p>
+      GAUDIER-BRZESKA, a memoir. John Lane, London and New York, 1916.
+    </p>
+<pre xml:space="preserve">
+LUSTRA (poems) public edition, pp. 116. Mathews, London, 1916.
+  200 copies privately printed and numbered, pp. 124.
+</pre>
+<pre xml:space="preserve">
+CERTAIN NOBLE PLAYS OF JAPAN. Cuala Press, Dundrum, Ireland,
+  1916. Translated by Ernest Fenollosa and Ezra Pound, with an
+  introduction by William Butler Yeats.
+</pre>
+<pre xml:space="preserve">
+NOH, or Accomplishment. A study of the Classical Stage of
+  Japan, including translations of fifteen plays, by Ernest
+  Fenollosa and Ezra Pound. Macmillan, London, 1917. Knopf, New
+  York, 1917.
+</pre>
+<pre xml:space="preserve">
+PASSAGES FROM THE LETTERS OF JOHN BUTLER YEATS, selected by Ezra
+  Pound, with brief editorial note. Cuala Press, 1917.
+</pre>
+<pre xml:space="preserve">
+LUSTRA, with Earlier Poems, Knopf, New York, 1917. (This
+  collection of Mr. Pound's poems contains all that he now
+  thinks fit to republish.)
+
+  There is also a privately-printed edition of fifty copies,
+  with a reproduction of a drawing of Ezra Pound by Henri
+  Gaudier-Brzeska (New York, 1917).
+</pre>
+<pre xml:space="preserve">
+PAVANNES and DIVISIONS (Prose), in preparation. Knopf,
+  New York.
+</pre>
+    <div style="height: 6em;">
+      <br /><br /><br /><br /><br /><br />
+    </div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Ezra Pound: His Metric and Poetry, by T. S. Eliot
+
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+Project Gutenberg's Ezra Pound: His Metric and Poetry, by T. S. Eliot
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Ezra Pound: His Metric and Poetry
+
+Author: T. S. Eliot
+
+
+Release Date: January, 2005 [EBook #7275]
+This file was first posted on April 6, 2003
+Last Updated: April 23, 2013
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK EZRA POUND: HIS METRIC AND POETRY ***
+
+
+
+
+Produced by Andrea Ball, David Starner, Charles Franks,
+Juliet Sutherland, and the Online Distributed Proofreading
+Team
+
+
+
+
+
+
+
+
+EZRA POUND: HIS METRIC AND POETRY
+
+By T. S. Eliot
+
+
+
+
+BOOKS BY EZRA POUND
+
+
+PROVENCA, being poems selected from Personae, Exultations, and
+Canzoniere. (Small, Maynard, Boston, 1910)
+
+THE SPIRIT OF ROMANCE: An attempt to define somewhat the charm
+of the pre-renaissance literature of Latin-Europe. (Dent,
+London, 1910; and Dutton, New York)
+
+THE SONNETS AND BALLATE OF GUIDO CAVALCANTI. (Small, Maynard,
+Boston, 1912)
+
+RIPOSTES. (Swift, London, 1912; and Mathews, London, 1913)
+
+DES IMAGISTES: An anthology of the Imagists, Ezra Pound,
+Aldington, Amy Lowell, Ford Maddox Hueffer, and others
+
+GAUDIER-BRZESKA: A memoir. (John Lane, London and New York,
+1916)
+
+NOH: A study of the Classical Stage of Japan with Ernest
+Fenollosa. (Alfred A. Knopf, New York, 1917; and Macmillan,
+London, 1917)
+
+LUSTRA with Earlier Poems. (Alfred A. Knopf, New York, 1917)
+
+PAVANNES AHD DIVISIONS. (Prose. In preparation: Alfred A. Knopf,
+New York)
+
+
+
+
+EZRA POUND: HIS METRIC AND POETRY
+
+
+
+I
+
+
+"All talk on modern poetry, by people who know," wrote Mr. Carl
+Sandburg in _Poetry_, "ends with dragging in Ezra Pound
+somewhere. He may be named only to be cursed as wanton and
+mocker, poseur, trifler and vagrant. Or he may be classed as
+filling a niche today like that of Keats in a preceding epoch.
+The point is, he will be mentioned."
+
+This is a simple statement of fact. But though Mr. Pound is well
+known, even having been the victim of interviews for Sunday
+papers, it does not follow that his work is thoroughly known.
+There are twenty people who have their opinion of him for every
+one who has read his writings with any care. Of those twenty,
+there will be some who are shocked, some who are ruffled, some
+who are irritated, and one or two whose sense of dignity is
+outraged. The twenty-first critic will probably be one who knows
+and admires some of the poems, but who either says: "Pound is
+primarily a scholar, a translator," or "Pound's early verse was
+beautiful; his later work shows nothing better than the itch for
+advertisement, a mischievous desire to be annoying, or a
+childish desire to be original." There is a third type of
+reader, rare enough, who has perceived Mr. Pound for some years,
+who has followed his career intelligently, and who recognizes
+its consistency.
+
+This essay is not written for the first twenty critics of
+literature, nor for that rare twenty-second who has just been
+mentioned, but for the admirer of a poem here or there, whose
+appreciation is capable of yielding him a larger return. If the
+reader is already at the stage where he can maintain at once the
+two propositions, "Pound is merely a scholar" and "Pound is
+merely a yellow journalist," or the other two propositions,
+"Pound is merely a technician" and "Pound is merely a prophet of
+chaos," then there is very little hope. But there are readers of
+poetry who have not yet reached this hypertrophy of the logical
+faculty; their attention might be arrested, not by an outburst
+of praise, but by a simple statement. The present essay aims
+merely at such a statement. It is not intended to be either a
+biographical or a critical study. It will not dilate upon
+"beauties"; it is a summary account of ten years' work in
+poetry. The citations from reviews will perhaps stimulate the
+reader to form his own opinion. We do not wish to form it for
+him. Nor shall we enter into other phases of Mr. Pound's
+activity during this ten years; his writings and views on art
+and music; though these would take an important place in any
+comprehensive biography.
+
+
+
+II
+
+
+Pound's first book was published in Venice. Venice was a halting
+point after he had left America and before he had settled in
+England, and here, in 1908, "A Lume Spento" appeared. The
+volume is now a rarity of literature; it was published by the
+author and made at a Venetian press where the author was able
+personally to supervise the printing; on paper which was a
+remainder of a supply which had been used for a History of the
+Church. Pound left Venice in the same year, and took "A Lume
+Spento" with him to London. It was not to be expected that a
+first book of verse, published by an unknown American in Venice,
+should attract much attention. The "Evening Standard" has the
+distinction of having noticed the volume, in a review summing it
+up as:
+
+    wild and haunting stuff, absolutely poetic, original,
+    imaginative, passionate, and spiritual. Those who do not
+    consider it crazy may well consider it inspired. Coming
+    after the trite and decorous verse of most of our decorous
+    poets, this poet seems like a minstrel of Provence at a
+    suburban musical evening.... The unseizable magic of poetry
+    is in the queer paper volume, and words are no good in
+    describing it.
+
+As the chief poems in "A Lume Spento" were afterwards
+incorporated in "Personae," the book demands mention only as a
+date in the author's history. "Personae," the first book
+published in London, followed early in 1909. Few poets have
+undertaken the siege of London with so little backing; few books
+of verse have ever owed their success so purely to their own
+merits. Pound came to London a complete stranger, without either
+literary patronage or financial means. He took "Personae" to Mr.
+Elkin Mathews, who has the glory of having published Yeats'
+"Wind Among the Reeds," and the "Books of the Rhymers' Club," in
+which many of the poets of the '90s, now famous, found a place.
+Mr. Mathews first suggested, as was natural to an unknown
+author, that the author should bear part of the cost of
+printing. "I have a shilling in my pocket, if that is any use to
+you," said the latter. "Well," said Mr. Mathews, "I want to
+publish it anyway." His acumen was justified. The book was, it
+is true, received with opposition, but it was received. There
+were a few appreciative critics, notably Mr. Edward Thomas, the
+poet (known also as "Edward Eastaway"; he has since been killed
+in France). Thomas, writing in the "English Review" (then in its
+brightest days under the editorship of Ford Madox Hueffer),
+recognized the first-hand intensity of feeling in "Personae":
+
+    He has ... hardly any of the superficial good qualities of
+    modern versifiers.... He has not the current melancholy or
+    resignation or unwillingness to live; nor the kind of
+    feeling for nature which runs to minute description and
+    decorative metaphor. He cannot be usefully compared with any
+    living writers;... full of personality and with such power
+    to express it, that from the first to the last lines of most
+    of his poems he holds us steadily in his own pure grave,
+    passionate world.... The beauty of it (In Praise of Ysolt)
+    is the beauty of passion, sincerity and intensity, not of
+    beautiful words and images and suggestions ... the thought
+    dominates the words and is greater than they are. Here
+    (Idyll for Glaucus) the effect is full of human passion and
+    natural magic, without any of the phrases which a reader of
+    modern verse would expect in the treatment of such a
+    subject.
+
+Mr. Scott James, in the "Daily News," speaks in praise of his
+metres:
+
+    At first the whole thing may seem to be mere madness and
+    rhetoric, a vain exhibition of force and passion without
+    beauty. But, as we read on, these curious metres of his seem
+    to have a law and order of their own; the brute force of Mr.
+    Pound's imagination seems to impart some quality of
+    infectious beauty to his words. Sometimes there is a strange
+    beating of anapaests when he quickens to his subject; again
+    and again he unexpectedly ends a line with the second half
+    of a reverberant hexameter:
+
+      "Flesh shrouded, bearing the secret."
+
+    ... And a few lines later comes an example of his favourite
+    use of spondee, followed by dactyl and spondee, which comes
+    in strangely and, as we first read it, with the appearance
+    of discord, but afterwards seems to gain a curious and
+    distinctive vigour:
+
+      "Eyes, dreams, lips, and the night goes."
+
+    Another line like the end of a hexameter is
+
+      "But if e'er I come to my love's land."
+
+But even so favourable a critic pauses to remark that
+
+    He baffles us by archaic words and unfamiliar metres; he
+    often seems to be scorning the limitations of form and
+    metre, breaking out into any sort of expression which suits
+    itself to his mood.
+
+and counsels the poet to "have a little more respect for his
+art."
+
+It is, in fact, just this adaptability of metre to mood,
+an adaptability due to an intensive study of metre, that
+constitutes an important element in Pound's technique. Few
+readers were prepared to accept or follow the amount of
+erudition which entered into "Personae" and its close successor,
+"Exultations," or to devote the care to reading them which they
+demand. It is here that many have been led astray. Pound is not
+one of those poets who make no demand of the reader; and the
+casual reader of verse, disconcerted by the difference between
+Pound's poetry and that on which his taste has been trained,
+attributes his own difficulties to excessive scholarship on the
+part of the author. "This," he will say of some of the poems in
+Provencal form or on Provencal subjects, "is archaeology; it
+requires knowledge on the part of its reader, and true poetry
+does not require such knowledge." But to display knowledge is
+not the same thing as to expect it on the part of the reader;
+and of this sort of pedantry Pound is quite free. He is, it is
+true, one of the most learned of poets. In America he had taken
+up the study of Romance Languages with the intention of
+teaching. After work in Spain and Italy, after pursuing the
+Provencal verb from Milan to Freiburg, he deserted the thesis
+on Lope de Vega and the Ph.D. and the professorial chair,
+and elected to remain in Europe. Mr. Pound has spoken out
+his mind from time to time on the subject of scholarship in
+American universities, its deadness, its isolation from genuine
+appreciation, and the active creative life of literature. He has
+always been ready to battle against pedantry. As for his own
+learning, he has studied poetry carefully, and has made use of
+his study in his own verse. "Personae" and "Exultations"
+show his talent for turning his studies to account. He was
+supersaturated in Provence; he had tramped over most of the
+country; and the life of the courts where the Troubadours
+thronged was part of his own life to him. Yet, though "Personae"
+and "Exultations" do exact something from the reader, they do
+not require a knowledge of Provencal or of Spanish or Italian.
+Very few people know the Arthurian legends well, or even Malory
+(if they did they might realize that the Idylls of the King are
+hardly more important than a parody, or a "Chaucer retold for
+Children"); but no one accuses Tennyson of needing footnotes, or
+of superciliousness toward the uninstructed. The difference is
+merely in what people are prepared for; most readers could no
+more relate the myth of Atys correctly than they could give a
+biography of Bertrand de Born. It is hardly too much to say that
+there is no poem in these volumes of Mr. Pound which needs
+fuller explanation than he gives himself. What the poems do
+require is a trained ear, or at least the willingness to be
+trained.
+
+The metres and the use of language are unfamiliar. There are
+certain traces of modern influence. We cannot agree with Mr.
+Scott-James that among these are "W. E. Henley, Kipling,
+Chatterton, and especially Walt Whitman"--least of all Walt
+Whitman. Probably there are only two: Yeats and Browning. Yeats
+in "La Fraisne," in "Personae," for instance, in the attitude
+and somewhat in the vocabulary:
+
+  I wrapped my tears in an ellum leaf
+  And left them under a stone,
+  And now men call me mad because I have thrown
+  All folly from me, putting it aside
+  To leave the old barren ways of men ...
+
+For Browning, Mr. Pound has always professed strong admiration
+(see "Mesmerism" in "Personae"); there are traces of him in
+"Cino" and "Famam Librosque Cano," in the same volume. But it is
+more profitable to comment upon the variety of metres and the
+original use of language.
+
+Ezra Pound has been fathered with vers libre in English, with
+all its vices and virtues. The term is a loose one--any verse is
+called "free" by people whose ears are not accustomed to it--in
+the second place, Pound's use of this medium has shown the
+temperance of the artist, and his belief in it as a vehicle is
+not that of the fanatic. He has said himself that when one has
+the proper material for a sonnet, one should use the sonnet
+form; but that it happens very rarely to any poet to find
+himself in possession of just the block of stuff which can
+perfectly be modelled into the sonnet. It is true that up to
+very recently it was impossible to get free verse printed in any
+periodical except those in which Pound had influence; and
+that now it is possible to print free verse (second, third, or
+tenth-rate) in almost any American magazine. Who is responsible
+for the bad free verse is a question of no importance, inasmuch
+as its authors would have written bad verse in any form; Pound
+has at least the right to be judged by the success or failure of
+his own. Pound's vers libre is such as is only possible for a
+poet who has worked tirelessly with rigid forms and different
+systems of metric. His "Canzoni" are in a way aside from his
+direct line of progress; they are much more nearly studies in
+mediaeval appreciation than any of his other verse; but they are
+interesting, apart from their merit, as showing the poet at work
+with the most intricate Provencal forms--so intricate that the
+pattern cannot be exhibited without quoting an entire poem. (M.
+Jean de Bosschere, whose French is translated in the "Egoist,"
+has already called attention to the fact that Pound was the
+first writer in English to use five Provencal forms.) Quotation
+will show, however, the great variety of rhythm which Pound
+manages to introduce into the ordinary iambic pentameter:
+
+  Thy gracious ways,
+                    O lady of my heart, have
+  O'er all my thought their golden glamour cast;
+  As amber torch-flames, where strange men-at-arms
+  Tread softly 'neath the damask shield of night,
+  Rise from the flowing steel in part reflected,
+  So on my mailed thought that with thee goeth,
+  Though dark the way, a golden glamour falleth.
+
+Within the iambic limits, there are no two lines in the whole
+poem that have an identical rhythm.
+
+We turn from this to a poem in "Exultations," the "Night
+Litany":
+
+  O God, what great kindness
+            have we done in times past
+            and forgotten it,
+  That thou givest this wonder unto us,
+            O God of waters?
+
+  O God of the night
+            What great sorrow
+  Cometh unto us,
+            That thou thus repayest us
+  Before the time of its coming?
+
+There is evident, and more strongly in certain later poems, a
+tendency toward quantitative measure. Such a "freedom" as this
+lays so heavy a burden upon every word in a line that it becomes
+impossible to write like Shelley, leaving blanks for the
+adjectives, or like Swinburne, whose adjectives are practically
+blanks. Other poets have manipulated a great variety of metres
+and forms; but few have studied the forms and metres which they
+use so carefully as has Pound. His ballad of the "Goodly Fere"
+shows great knowledge of the ballad form:
+
+  I ha' seen him cow a thousand men
+  On the hills o' Galilee,
+  They whined as he walked out calm between
+  Wi' his eyes like the grey o' the sea.
+
+  Like the sea that brooks no voyaging
+  With the winds unleashed and free,
+  Like the sea that he cowed at Genseret
+  Wi' twey words spoke suddently.
+
+  A master of men was the Goodly Fere
+  A mate of the wind and sea,
+  If they think they ha' slain our Goodly Fere
+  They are fools eternally.
+
+  I ha' seen him eat o' the honey-comb
+  Sin' they nailed him to the tree.
+
+And from this we turn to a very different form in the
+"Altaforte," which is perhaps the best sestina that has
+been written in English:
+
+  Damn it all! all this our South stinks peace.
+  You whoreson dog, Papiols, come! let's to music!
+  I have no life save when the swords clash.
+  But ah! when I see the standards gold, vair, purple, opposing,
+  And the broad fields beneath them turn crimson,
+  Then howl I my heart nigh mad with rejoicing.
+
+  In hot summer have I great rejoicing
+  When the tempests kill the earth's foul peace,
+  And the lightnings from black heaven flash crimson,
+  And the fierce thunders roar me their music
+  And the winds  shriek through the clouds mad, opposing,
+  And through all the riven skies God's swords clash.
+
+I have quoted two verses to show the intricacy of the pattern.
+
+The Provencal canzon, like the Elizabethan lyric, was written
+for music. Mr. Pound has more recently insisted, in a series of
+articles on the work of Arnold Dolmetsch, in the "Egoist," on
+the importance of a study of music for the poet.
+
+       *       *       *       *       *
+
+Such a relation between poetry and music is very different from
+what is called the "music" of Shelley or Swinburne, a music
+often nearer to rhetoric (or the art of the orator) than to the
+instrument. For poetry to approach the condition of music
+(Pound quotes approvingly the dictum of Pater) it is not
+necessary that poetry should be destitute of meaning. Instead of
+slightly veiled and resonant abstractions, like
+
+  Time with a gift of tears,
+  Grief with a glass that ran--
+
+of Swinburne, or the mossiness of Mallarme, Pound's verse is
+always definite and concrete, because he has always a definite
+emotion behind it.
+
+  Though I've roamed through many places,
+  None there is that my heart troweth
+  Fair as that wherein fair groweth
+  One whose laud here interlaces
+  Tuneful words, that I've essayed.
+  Let this tune be gently played
+  Which my voice herward upraises.
+
+At the end of this poem the author appends the note:
+
+    The form and measure are those of Piere Vidal's "_Ab
+    l'alen tir vas me l'aire_." The song is fit only to be
+    sung, and is not to be spoken.
+
+There are, here and there, deliberate archaisms or oddities
+(e.g., "herward"); there are deliberately arbitrary images,
+having their place in the total effect of the poem:
+
+
+  Red leaf that art blown upward and out and over
+  The green sheaf of the world ...
+
+  The lotos that pours
+  Her fragrance into the purple cup ...
+
+  Black lightning ... (in a more recent poem)
+
+but no word is ever chosen merely for the tinkle; each has
+always its part in producing an impression which is produced
+always through language. Words are perhaps the hardest of
+all material of art: for they must be used to express both
+visual beauty and beauty of sound, as well as communicating
+a grammatical statement. It would be interesting to compare
+Pound's use of images with Mallarme's; I think it will be found
+that the former's, by the contrast, will appear always sharp in
+outline, even if arbitrary and not photographic. Such images as
+those quoted above are as precise in their way as
+
+  Sur le Noel, morte saison,
+  Lorsque les loups vivent de vent ...
+
+and the rest of that memorable Testament.
+
+So much for the imagery. As to the "freedom" of his verse, Pound
+has made several statements in his articles on Dolmetsch which
+are to the point:
+
+    Any work of art is a compound of freedom and order. It is
+    perfectly obvious that art hangs between chaos on the one
+    side and mechanics on the other. A pedantic insistence upon
+    detail tends to drive out "major form." A firm hold on major
+    form makes for a freedom of detail. In painting men intent
+    on minutiae gradually lost the sense of form and form-
+    combination. An attempt to restore this sense is branded as
+    "revolution." It is revolution in the philological sense of
+    the term....
+
+    Art is a departure from fixed positions; felicitous
+    departure from a norm....
+
+The freedom of Pound's verse is rather a state of tension due to
+constant opposition between free and strict. There are not, as a
+matter of fact, two kinds of verse, the strict and the free;
+there is only a mastery which comes of being so well trained
+that form is an instinct and can be adapted to the particular
+purpose in hand.
+
+       *       *      *       *       *
+
+After "Exultations" came the translation of the "Sonnets and
+Ballate of Guido Cavalcanti." It is worth noting that the writer
+of a long review in the "_Quest_"--speaking in praise of the
+translation, yet found fault with the author not on the ground
+of excessive mediaevalism, but because
+
+    he is concerned rather with the future than with a somewhat
+    remote past, so that in spite of his love for the mediaeval
+    poets, his very accomplishment as a distinctly modern poet
+    makes against his success as a wholly acceptable translator
+    of Cavalcanti, the heir of the Troubadours, the scholastic.
+
+Yet the _Daily News_, in criticising "Canzoni," had remarked
+that Mr. Pound
+
+    seems to us rather a scholar than a poet, and we should like
+    to see him giving his unusual talent more to direct
+    translation from the Provencal.
+
+and Mr. J. C. Squire (now the literary editor of the _New
+Statesman_), in an appreciative review in the _New Age_, had
+counselled the poet that he would
+
+    gain and not lose if he could forget all about the poets of
+    Dante's day, their roses and their flames, their gold and
+    their falcons, and their literary amorousness, and walk out
+    of the library into the fresh air.
+
+In "Ripostes" there are traces of a different idiom.
+Superficially, the work may appear less important. The diction
+is more restrained, the flights shorter, the dexterity of
+technique is less arresting. By romantic readers the book would
+be considered less "passionate." But there is a much more solid
+substratum to this book; there is more thought; greater depth,
+if less agitation on the surface. The effect of London is
+apparent; the author has become a critic of men, surveying them
+from a consistent and developed point of view; he is more
+formidable and disconcerting; in short, much more mature.
+That he abandons nothing of his technical skill is evident from
+the translation from the Anglo-Saxon, the "Seafarer." It is
+not a slight achievement to have brought to life alliterative
+verse: perhaps the "Seafarer" is the only successful piece of
+alliterative verse ever written in modern English; alliterative
+verse which is not merely a clever tour de force, but which
+suggests the possibility of a new development of this form. Mr.
+Richard Aldington (whose own accomplishments as a writer of vers
+libre qualify him to speak) called the poem "unsurpassed and
+unsurpassable," and a writer in the _New Age_ (a literary organ
+which has always been strongly opposed to metrical innovations)
+called it "one of the finest literary works of art produced in
+England during the last ten years." And the rough, stern beauty
+of the Anglo-Saxon, we may remark, is at the opposite pole from
+that of the Provencal and Italian poets to whom Pound had
+previously devoted his attention.
+
+  May I for my own self song's truth reckon,
+  Journey's jargon, how I in harsh days
+  Hardship endured oft.
+
+But we can notice in "Ripostes" other evidences than of
+versatility only; certain poems show Mr. Pound turning to more
+modern subjects, as in the "Portrait d'une femme," or the
+mordant epigram, "An Object." Many readers are apt to confuse
+the maturing of personality with desiccation of the emotions.
+There is no desiccation in "Ripostes." This should be evident to
+anyone who reads carefully such a poem as "A Girl." We quote it
+entire without comment.
+
+  The tree has entered my hands,
+  The sap has ascended my arms,
+  The tree has grown in my breast--
+  Downward,
+  The branches grow out of me, like arms.
+
+  Tree you are,
+  Moss you are,
+  You are violets with wind above them.
+  A child--_so_ high--you are,
+  And all this is folly to the world.
+
+"The Return" is an important study in verse which is really
+quantitative. We quote only a few lines:
+
+  See, they return; ah, see the tentative
+  Movements, and the slow feet,
+  The trouble in the pace and the uncertain
+  Wavering!
+
+"Ripostes" belongs to the period when Mr. Pound was being
+attacked because of his propaganda. He became known as the
+inventor of "Imagism," and later, as the "High Priest of
+Vorticism." As a matter of fact, the actual "propaganda" of Mr.
+Pound has been very small in quantity. The impression which his
+personality made, however, is suggested by the following note in
+"_Punch_," which is always a pretty reliable barometer of the
+English middle-class Grin:
+
+    Mr. Welkin Mark (exactly opposite Long Jane's) begs to
+    announce that he has secured for the English market the
+    palpitating works of the new Montana (U.S.A.) poet, Mr.
+    Ezekiel Ton, who is the most remarkable thing in poetry
+    since Robert Browning. Mr. Ton, who has left America to
+    reside for a while in London and impress his personality on
+    English editors, publishers and readers, is by far the
+    newest poet going, whatever other advertisements may say. He
+    has succeeded, where all others have failed, in evolving a
+    blend of the imagery of the unfettered West, the vocabulary
+    of Wardour Street, and the sinister abandon of Borgiac
+    Italy.
+
+In 1913, someone writing to the New York _Nation_ from the
+University of Illinois, illustrates the American, more serious,
+disapproval. This writer begins by expressing his objections to
+the "principle of Futurism." (Pound has perhaps done more than
+anyone to keep Futurism out of England. His antagonism to this
+movement was the first which was not due merely to unintelligent
+dislike for anything new, and was due to his perception that
+Futurism was incompatible with any principles of form. In his
+own words, Futurism is "accelerated impressionism.") The writer
+in the _Nation_ then goes on to analyze the modern "hypertrophy
+of romanticism" into
+
+  The exaggeration of the importance of a personal emotion.
+  The abandonment of all standards of form.
+  The suppression of all evidence that a particular composition
+  is animated by any directing intelligence.
+
+As for the first point, here are Mr. Pound's words in answer to
+the question, "do you agree that the great poet is never
+emotional?"
+
+    Yes, absolutely; if by emotion is meant that he is at the
+    mercy of every passing mood.... The only kind of emotion
+    worthy of a poet is the inspirational emotion which
+    energises and strengthens, and which is very remote from the
+    everyday emotion of sloppiness and sentiment....
+
+And as for the platform of Imagism, here are a few of Pound's
+"Don'ts for Imagists":
+
+    Pay no attention to the criticisms of men who have never
+    themselves written a notable work.
+
+    Use no superfluous word and no adjective which does not
+    reveal something.
+
+    Go in fear of abstractions. Don't retail in mediocre verse
+    what has already been done in good prose.
+
+    Don't imagine that the art of poetry is any simpler than the
+    art of music or that you can please the expert before you
+    have spent at least as much effort on the art of verse as
+    the average piano teacher spends on the art of music.
+
+    Be influenced by as many great artists as you can, but have
+    the decency either to acknowledge the debt outright or try
+    to conceal it.
+
+    Consider the definiteness of Dante's presentation as
+    compared with Milton's. Read as much of Wordsworth as does
+    not seem to be unutterably dull.
+
+    If you want the gist of the matter go to Sappho, Catullus,
+    Villon when he is in the vein, Gautier when he is not too
+    frigid, or if you have not the tongues seek out the
+    leisurely Chaucer.
+
+    Good prose will do you no harm. There is good discipline to
+    be had by trying to write it. Translation is also good
+    training.
+
+The emphasis here is certainly on discipline and form. The
+Chicago _Tribune_ recognized this as "sound sense," adding:
+
+    If this is Imagism ... we are for establishing Imagism by
+    constitutional amendment and imprisoning without recourse to
+    ink or paper all "literary" ladies or gents who break any of
+    these canons.
+
+But other reviewers were less approving. While the writer in the
+_Nation_, quoted above, dreads the anarchy impending, Mr.
+William Archer was terrified at the prospect of hieratic
+formalisation. Mr. Archer believes in the simple untaught muse:
+
+    Mr. Pound's commandments tend too much to make of poetry a
+    learned, self-conscious craft, to be cultivated by a guild
+    of adepts, from whose austere laboratories spontaneity and
+    simplicity are excluded.... A great deal of the best poetry
+    in the world has very little technical study behind it....
+    There are scores and hundreds of people in England who could
+    write this simple metre (i.e. of "A Shropshire Lad")
+    successfully.
+
+To be hanged for a cat and drowned for a rat is, perhaps,
+sufficient exculpation.
+
+Probably Mr. Pound has won odium not so much by his theories as
+by his unstinted praise of certain contemporary authors whose
+work he has liked. Such expressions of approval are usually
+taken as a grievance--much more so than any personal abuse,
+which is comparatively a compliment--by the writers who escape
+his mention. He does not say "A., B., and C. are bad poets or
+novelists," but when he says "The work of X., Y., and Z. is in
+such and such respects the most important work in verse (or
+prose) since so and so," then A., B., and C. are aggrieved.
+Also, Pound has frequently expressed disapproval of Milton and
+Wordsworth.
+
+After "Ripostes," Mr. Pound's idiom has advanced still farther.
+Inasmuch as "Cathay," the volume of translations from the
+Chinese, appeared prior to "Lustra," it is sometimes thought
+that his newer idiom is due to the Chinese influence. This is
+almost the reverse of the truth. The late Ernest Fenollosa left
+a quantity of manuscripts, including a great number of rough
+translations (literally exact) from the Chinese. After certain
+poems subsequently incorporated in "Lustra" had appeared in
+"Poetry," Mrs. Fenollosa recognized that in Pound the Chinese
+manuscripts would find the interpreter whom her husband would
+have wished; she accordingly forwarded the papers for him to do
+as he liked with. It is thus due to Mrs. Fenollosa's acumen that
+we have "Cathay"; it is not as a consequence of "Cathay" that we
+have "Lustra." This fact must be borne in mind.
+
+Poems afterward embodied in "Lustra" appeared in "Poetry," in
+April, 1913, under the title of "Contemporanea." They included
+among others "Tenzone," "The Condolence," "The Garret,"
+"Salutation the Second," and "Dance Figure."
+
+There are influences, but deviously. It is rather a gradual
+development of experience into which literary experiences have
+entered. These have not brought the bondage of temporary
+enthusiasms, but have liberated the poet from his former
+restricted sphere. There is Catullus and Martial, Gautier,
+Laforgue and Tristan Corbiere. Whitman is certainly not an
+influence; there is not a trace of him anywhere; Whitman and Mr.
+Pound are antipodean to each other. Of "Contemporanea" the
+_Chicago Evening Post_ discriminatingly observed:
+
+    Your poems in the April _Poetry_ are so mockingly, so
+    delicately, so unblushingly beautiful that you seem to have
+    brought back into the world a grace which (probably) never
+    existed, but which we discover by an imaginative process in
+    Horace and Catullus.
+
+It was a true insight to ally Pound to the Latin, not to the
+Greek poets.
+
+Certain of the poems in "Lustra" have offended admirers of the
+verse of the "Personae" period. When a poet alters or develops,
+many of his admirers are sure to drop off. Any poet, if he is to
+survive as a writer beyond his twenty-fifth year, must alter; he
+must seek new literary influences; he will have different
+emotions to express. This is disconcerting to that public which
+likes a poet to spin his whole work out of the feelings of his
+youth; which likes to be able to open a new volume of his poems
+with the assurance that they will be able to approach it exactly
+as they approached the preceding. They do not like that constant
+readjustment which the following of Mr. Pound's work demands.
+Thus has "Lustra" been a disappointment to some; though it
+manifests no falling off in technique, and no impoverishment
+of feeling. Some of the poems (including several of the
+"Contemporanea") are a more direct statement of views than
+Pound's verse had ever given before. Of these poems, M. Jean de
+Bosschere writes:
+
+    Everywhere his poems incite man to exist, to profess a
+    becoming egotism, without which there can be no real
+    altruism.
+
+      I beseech you enter your life.
+      I beseech you learn to say "I"
+      When I question you.
+      For you are no part, but a whole;
+      No portion, but a being.
+
+    ... One must be capable of reacting to stimuli for a moment,
+    as a real, live person, even in face of as much of one's own
+    powers as are arrayed against one;... The virile complaint,
+    the revolt of the poet, all which shows his emotion,--that
+    is poetry.
+
+      Speak against unconscious oppression,
+      Speak against the tyranny of the unimaginative,
+      Speak against bonds.
+
+        Be against all forms of oppression,
+        Go out and defy opinion.
+
+    This is the old cry of the poet, but more precise, as an
+    expression of frank disgust:
+
+      Go to the adolescent who are smothered in family.
+      O, how hideous it is
+      To see three generations of one house gathered together!
+      It is like an old tree without shoots,
+      And with some branches rotted and falling.
+
+    Each poem holds out these cries of revolt or disgust, but
+    they are the result of his still hoping and feeling:
+
+    Let us take arms against this sea of stupidities. Pound ...
+    has experience of the folly of the Philistines who read his
+    verse. Real pain is born of this stupid interpretation, and
+    one does not realize how deep it is unless one can feel,
+    through the ejaculations and the laughter, what has caused
+    these wounds, which are made deeper by what he knows, and
+    what he has lost....
+
+    The tone, which is at once jocund and keen, is one of
+    Pound's qualities. Ovid, Catullus--he does not disown them.
+    He only uses these accents for his familiars; with the
+    others he is on the edge of paradox, pamphleteering, indeed
+    of abuse....
+
+This is the proper approach to the poems at the beginning of
+"Lustra," and to the short epigrams, which some readers find
+"pointless," or certainly "not poetry." They should read, then,
+the "Dance Figure," or "Near Perigord," and remember that all
+these poems come out of the same man.
+
+  Thine arms are as a young sapling under the bark;
+  Thy face as a river with lights.
+
+  White as an almond are thy shoulders;
+  As new almonds stripped from the husk.
+
+Or the ending of "Near Perigord":
+
+  Bewildering spring, and by the Auvezere
+  Poppies and day's-eyes in the green email
+  Rose over us; and we knew all that stream,
+  And our two horses had traced out the valleys;
+  Knew the low flooded lands squared out with poplars,
+  In the young days when the deep sky befriended.
+  And great wings beat above us in the twilight,
+  And the great wheels in heaven
+  Bore us together ... surging ... and apart ...
+  Believing we should meet with lips and hands ...
+
+  There shut up in his castle, Tairiran's,
+  She who had nor ears nor tongue save in her hands,
+  Gone, ah, gone--untouched, unreachable!
+  She who could never live save through one person,
+  She who could never speak save to one person,
+  And all the rest of her a shifting change,
+  A broken bundle of mirrors...!
+
+
+Then turn at once to "To a Friend Writing on Cabaret Dancers."
+
+It is easy to say that the language of "Cathay" is due to the
+Chinese. If one looks carefully at (1) Pound's other verse, (2)
+other people's translations from the Chinese (e.g., Giles's), it
+is evident that this is not the case. The language was ready for
+the Chinese poetry. Compare, for instance, a passage from
+"Provincia Deserta":
+
+  I have walked
+               into Perigord
+  I have seen the torch-flames, high-leaping,
+  Painting the front of that church,--
+  And, under the dark, whirling laughter,
+  I have looked back over the stream
+               and seen the high building,
+  Seen the long minarets, the white shafts.
+  I have gone in Ribeyrac,
+               and in Sarlat.
+  I have climbed rickety stairs, heard talk of Croy,
+  Walked over En Bertran's old layout,
+  Have seen Narbonne, and Cahors and Chalus,
+  Have seen Excideuil, carefully fashioned.
+
+with a passage from "The River Song":
+
+  He goes out to Hori, to look at the wing-flapping storks,
+  He returns by way of Sei rock, to hear the new nightingales,
+  For the gardens at Jo-run are full of new nightingales,
+  Their sound is mixed in this flute,
+  Their voice is in the twelve pipes here.
+
+It matters very little how much is due to Rihaku and how much to
+Pound. Mr. Ford Madox Hueffer has observed: "If these are
+original verses, then Mr. Pound is the greatest poet of this
+day." He goes on to say:
+
+    The poems in "Cathay" are things of a supreme beauty. What
+    poetry should be, that they are. And if a new breath of
+    imagery and handling can do anything for our poetry, that
+    new breath these poems bring....
+
+    Poetry consists in so rendering concrete objects that the
+    emotions produced by the objects shall arise in the
+    reader....
+
+    Where have you better rendered, or more permanently
+    beautiful a rendering of, the feelings of one of those
+    lonely watchers, in the outposts of progress, whether it be
+    Ovid in Hyrcania, a Roman sentinel upon the great wall of
+    this country, or merely ourselves, in the lonely recesses of
+    our minds, than the "Lament of the Frontier Guard"?...
+
+    Beauty is a very valuable thing; perhaps it is the most
+    valuable thing in life; but the power to express emotion so
+    that it shall communicate itself intact and exactly is
+    almost more valuable. Of both these qualities Mr. Pound's
+    book is very full. Therefore, I think we may say that this
+    is much the best work he has done, for, however closely he
+    may have followed his originals--and of that most of us have
+    no means of judging--there is certainly a good deal of Mr.
+    Pound in this little volume.
+
+"Cathay" and "Lustra" were followed by the translations of Noh
+plays. The Noh are not so important as the Chinese poems
+(certainly not so important for English); the attitude is less
+unusual to us; the work is not so solid, so firm. "Cathay" will,
+I believe, rank with the "Sea-Farer" in the future among Mr.
+Pound's original work; the Noh will rank among his translations.
+It is rather a dessert after "Cathay." There are, however,
+passages which, as Pound has handled them, are different both
+from the Chinese and from anything existent in English. There
+is, for example, the fine speech of the old Kagekiyo, as he
+thinks of his youthful valour:
+
+    He thought, how easy this killing. He rushed with his
+    spearshaft gripped under his arm. He cried out, "I am
+    Kagekiyo of the Heike." He rushed on to take them. He
+    pierced through the helmet vizards of Miyanoya. Miyanoya
+    fled twice, and again; and Kagekiyo cried: "You shall not
+    escape me!" He leaped and wrenched off his helmet. "Eya!"
+    The vizard broke and remained in his hand, and Miyanoya
+    still fled afar, and afar, and he looked back crying in
+    terror, "How terrible, how heavy your arm!" And Kagekiyo
+    called at him, "How tough the shaft of your neck is!" And
+    they both laughed out over the battle, and went off each his
+    own way.
+
+The "Times Literary Supplement" spoke of Mr. Pound's "mastery of
+beautiful diction" and his "cunningly rhythmically prose," in
+its review of the "Noh."
+
+Even since "Lustra," Mr. Pound has moved again. This move is to
+the epic, of which three cantos appear in the American "Lustra"
+(they have already appeared in "Poetry"--Miss Monroe deserves
+great honour for her courage in printing an epic poem in this
+twentieth century--but the version in "Lustra" is revised and is
+improved by revision). We will leave it as a test: when anyone
+has studied Mr. Pound's poems in _chronological_ order, and has
+mastered "Lustra" and "Cathay," he is prepared for the Cantos--
+but not till then. If the reader then fails to like them, he has
+probably omitted some step in his progress, and had better go
+back and retrace the journey.
+
+
+
+
+BIBLIOGRAPHY OF BOOKS
+
+AND PARTIAL BIBLIOGRAPHY OF NOTABLE CRITICAL ARTICLES BY EZRA POUND
+
+
+
+POEMS
+
+
+A LUME SPENTO (100 copies). Antonelli, Venice, June, 1908.
+
+A QUINZAINE FOR THIS YULE.
+  First 100 printed by Pollock, London, December, 1908.
+
+  Second 100 published under Elkin Mathews' imprint, London,
+    December, 1908.
+
+PERSONAE. Mathews, London, Spring, 1909.
+
+EXULTATIONS. Mathews, London, Autumn, 1909.
+
+
+
+PROSE
+
+
+THE SPIRIT OF ROMANCE. Dent, London, 1910.
+
+
+
+POEMS
+
+
+PROVENCA (a selection of poems from "Personae" and
+  "Exultations" with new poems). Small Maynard, Boston, 1910.
+
+CANZONI. Mathews, London, 1911.
+
+THE SONNETS AND BALLATE OF GUIDO CAVALCANTI (translated).
+  Small Maynard, Boston, 1912.
+
+  A cheaper edition of the same, Swift and Co., London, 1912.
+  The bulk of this edition destroyed by fire.
+
+RIPOSTES. Swift, London, 1912.
+  (_Note_.--This book contains the first announcement of
+  Imagism, in the foreword to the poems of T. E. Hulme.)
+
+
+
+OTHER PUBLICATIONS
+
+
+"A FEW DON'TS BY AN IMAGISTE," in "Poetry," for March, 1913.
+
+"CONTEMPORANIA" (poems), in "Poetry," April, 1913.
+
+
+
+POEMS
+
+
+PERSONAE, EXULTATIONS, CANZONI, RIPOSTES, published in two
+  volumes. Mathews, London, 1913.
+
+FIRST OF THE NOTES ON JAMES JOYCE, "Egoist," January, 1914.
+
+FIRST OF THE ARTICLES CONCERNING GAUDIER-BRZESKA, "Egoist,"
+  February, 1914.
+
+
+
+OTHER PUBLICATIONS
+
+
+"DES IMAGISTES," poems by several authors selected by Ezra
+  Pound, published as a number of "The Glebe," in New York.
+  February, 1914.
+
+  Alfred Kreymborg was at this time editor of "The Glebe." The
+  first arrangements for the anthology were made through the
+  kind offices of John Cournos during the winter of 1912-13.
+
+  The English edition of this anthology published by The Poetry
+  Book Shop. London, 1914.
+
+ARTICLE ON WYNDHAM LEWIS, "Egoist," June 15, 1914.
+
+CONTRIBUTIONS TO FIRST NUMBER OF "Blast," June 20, 1914.
+
+"VORTICISM," an article in "The Fortnightly Review," September,
+  1914.
+
+"GAUDIER-BRZESKA," an article in "The New Age," February 4,
+  1915.
+
+CONTRIBUTIONS to second number of "Blast," 1915.
+
+
+
+POEMS
+
+
+CATHAY. Mathews, London, April, 1915. (Translations from the
+  Chinese from the notes of Ernest Fenollosa.)
+
+
+
+OTHER PUBLICATIONS
+
+
+THE CATHOLIC ANTHOLOGY, edited by Ezra Pound. Mathews, London,
+  December, 1915.
+
+GAUDIER-BRZESKA, a memoir. John Lane, London and New York, 1916.
+
+LUSTRA (poems) public edition, pp. 116. Mathews, London, 1916.
+  200 copies privately printed and numbered, pp. 124.
+
+CERTAIN NOBLE PLAYS OF JAPAN. Cuala Press, Dundrum, Ireland,
+  1916. Translated by Ernest Fenollosa and Ezra Pound, with an
+  introduction by William Butler Yeats.
+
+NOH, or Accomplishment. A study of the Classical Stage of
+  Japan, including translations of fifteen plays, by Ernest
+  Fenollosa and Ezra Pound. Macmillan, London, 1917. Knopf, New
+  York, 1917.
+
+PASSAGES FROM THE LETTERS OF JOHN BUTLER YEATS, selected by Ezra
+  Pound, with brief editorial note. Cuala Press, 1917.
+
+LUSTRA, with Earlier Poems, Knopf, New York, 1917. (This
+  collection of Mr. Pound's poems contains all that he now
+  thinks fit to republish.)
+
+  There is also a privately-printed edition of fifty copies,
+  with a reproduction of a drawing of Ezra Pound by Henri
+  Gaudier-Brzeska (New York, 1917).
+
+PAVANNES and DIVISIONS (Prose), in preparation. Knopf,
+  New York.
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Ezra Pound: His Metric and Poetry, by T. S. Eliot
+
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