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1919 Quia Pauper Amavi “Homage to

Sextus Propertius” ヤ 3

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J. P. Sullivan “creative translation”

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translation”

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1928 ∟ Selected Poems T.

S. Eliot

I have omitted one long poem, which Mr. Pound might himself have included: theHomage to Sextus Propertius. I was doubtful of its effect upon the uninstructedreader, even with my instructions. If the uninstructed reader is not a classicalscholar, he will make nothing of it; if he be a classical scholar, he will wonderwhy this does not conform to his notions of what translation should be. It is not atranslation, it is a paraphrase, or still more truly (for the instructed) a persona. It isalso a criticism of Propertius, a criticism which in a most interesting way insistsupon an element of humour, of irony and mockery, in Propertius, which Mackailand other interpreters have missed. (SP 19)

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1910 The

Spirit of Romance ぜ

It is dawn at Jerusalem while midnight hovers above the Pillars of Hercules. Allages are contemporaneous. It is B. C., let us say, in Morocco. The Middle Agesare in Russia. The future stirs already in the minds of the few. This is especiallytrue of literature, where the real time is independent of the apparent, and wheremany dead men are our grandchildren’s contemporaries, while many of ourcontemporaries have been already gathered into Abraham’s bosom, or some morefitting receptacle. (SR 6)

“the real time” “the apparent”

“the real time”

┘ “the apparent”

1922 Felix Schelling “That fool in Chicago [

フ W. G. Hale ] took

the Homage for a translation, despite the mention of Wordsworth and the parodied line

from Yeats” (SL 178)

“Make It New” ╉

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ル ゼ Loeb Classical

Library ∟ ゼ ぜ 1

Away with the man who keeps Phoebus tarrying among the weapons of war!Let verse run smoothly, polished with fine pumice.’Tis such verse as this that Fame lifts me aloft from the earth,(quoted in Ruthven 89)

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Out-weariers of Apollo will, as we know, continue their Martian generalities,We have kept our erasers in order.

(P 205)

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the man” “polished with fine

pumice” “polish” “[a]way”

“erasers” ゼ “We have kept our

erasers in order”

“creative translation”

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┘ “Martian generalities” ㌱ ∟

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Joseph Priestly 1770

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My house is not stayed on Taenarian columns;I have no ivory chamber with gilded beams;no orchards have I to vie with Phaeacia’s trees,nor hath art built me grottoes watered by the Marcian fount.(quoted in Ruthven 89)

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My orchards do not lie level and wide as the forests of Phaeacia,

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the luxurious and Ionian,Nor are my caverns stuffed stiff with a Marcian vintage,My cellar does not date from Numa Pompilius,Nor bristle with wine jars,Nor is it equipped with a frigidaire patent;(P 206)

“Phaeacia” こ

(Phocaea) (Brooker 163)

“Ionian” W. G. Hale

ゼ

Hale Poetry 1919 4

レ

The Marcian aqueduct was Rome’s best water supply, recently renovated byAgrippa. Mr. Pound seems to have taken liquor as spirituous. He must then havethought of age as appropriate, and so interpreted Marcius as referring to thelegendary King Ancus Marcius; after which it was easy to add another legendaryking, Numa Pompilius. The result is three lines, all wrong, and the last two arepure padding. (quoted in Ruthven 93, emphasis in the original)

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“The Withering of the Boughs” ル

I know of the sleepy country, where swans fly roundCoupled with golden chains, and sing as they fly.A king and a queen are wandering there, and the soundHas made them so happy and hopeless, so deaf and so blindWith wisdom, they wander till all the years have gone by;I know, and the curlew and peewit on Echtge of streams.No boughs have withered because of the wintry wind;The boughs have withered because I have told them my dreams.(Yeats 88, emphasis in the original)

“they wander

till all the years have gone by”

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┘ “Tell me the truths which you hear of our constant lady, / Lygdamus,” (P 210)

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Sadness hung over the house, and the desolated female attendantsWere desolated because she had told them her dreams.(P 211)

“her dreams”

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And you expect me to

believe this / after twelve months of discomfort?” (P 211)

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Flame burns, rain sinks into the cracksAnd they all go to rack ruin beneath the thud of the years.Stands genius a deathless adornment, A name not to be worn out with the years.(P 207)

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∟

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Varro sang Jason’s expedition, Varro, of his great passion Leucadia,There is song in the parchment; Catullus the highly indecorous,Of Lesbia, known above Helen;And in the dyed pages of Calvus, Calvus mourning Quintilia,And but now Gallus had sung of Lycoris. Fair, fairest Lycoris—(P 224)

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(Brooker 182,

Ruthven 124) ヤ 3 ┘ “Catullus

the highly indecorous, / Of Lesbia, known above Helen;” (P 224)

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(Ruthven 124) ヤ

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The waters of Styx poured over the wound:And now Propertius of Cynthia, taking his stand among these.(P 224)

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Such passion also the pages of learned Calvus did confess,when he sang of the death of hapless Quintilia;and dead Gallus too, that of late laved in the streams of Hellthe many wounds dealt him by fair Lycoris.(quoted in Ruthven 122)

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Loeb

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“A name not to be worn out with the years”

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“A name not to be worn out with the years”

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り

“It is also a

criticism of Propertius, a criticism which in a most interesting way insists upon an

element of humour, of irony and mockery, in Propertius” (SP 19)

フ フ

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フ

1959

“Did they [

] have anything to do with ‘Hugh Selwyn Mauberley?’”

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These [the novels abandoned] were long before ‘Mauberley.’ ‘Mauberley’ waslater, but it was the definite attempt to get the novel cut down to the size of verse.It really is ‘Contacts and Life.’ [Edward] Wasworth seemed to think ‘Propertius’difficult because it was about Rome, so one applied the same thing to thecontemporary outside. (WW 42)

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1 ゼ 1922

7 8 Felix E. Schelling “As if, had one wanted to pretend to

more Latin than one knew, it wdn’t [sic] have been perfectly easy to correct one’s

divergencies from a Bohn [Libraries] crib. Price 5 shillings” (SL 178)

Bohn Libraries ゼ

2 オ XII

3 http://ja.wikipedia.org/

4 1916 ス ♣

(http://en.wikipedia.org/wiki/Frigidaire)

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5 オ ボ

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Terrell Terrell 750 ヤ

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Works Cited

Brooker, Peter. A Student’s Guide to the Selected Poems of Ezra Pound. London: Faber &

Faber, 1979.

40-1 (2002):

69-84.

The Paris Review, Inc. Writers at Work: The Paris Review Interviews. London: Secker &

Warburg, 1963. (WW)

Pound, Ezra. Personae. New York: New Directions, 2002. (P)

___. Selected Letters of Ezra Pound, 1907-1941. 1950; New York: New Directions, 1971.

(SL)

___. Selected Poems. Ed. T. S. Eliot. 1928; London: Faber & Faber, 1948. (SP)

___. The Spirit of Romance. 1910; New York: New Directions, 1968. (SR)

Ruthven, K. K. A Guide to Ezra Pound’s Personae (1926). Berkeley and Los Angeles:

California UP, 1969.

Terrell, F. Carroll. A Companion to The Cantos of Ezra Pound. Vol. 2. Berkeley and Los

Angeles: California UP, 1984.

Yeats, W. B. Collected Poems. 1967; London: Picador, 1990.

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Sextus Propertius Revived:How a Poet of Irony Was Created

Tomoyuki ENDO

In 1919, Ezra Pound published a small book of poems called Quia PauperAmavi. In this book was contained a series of “translation” from the works of the

Roman poet, Sextus Propertius, “Homage to Sextus Propertius.”

Although this series was not meant to be a literal translation of Propertius (as the

title suggests), it drew attention of Latinists as being “a wrong translation” in many

ways. But thanks to the expression created by J. P. Sullivan, namely “Creative

Translation,” this work has come to have its own proper place in Pound studies, as “a

Creative Translation” of Propertius.

As T. S. Eliot suggests in his “Introduction” to Pound’s Selected Poems in 1928,

this work of Pound’s is “a criticism of Propertius, which in a most interesting way

insists upon an element of humor, of irony and mockery, in Propertius.” These words

of Eliot’s suggest that even though Propertius was known as a love poet of Rome,

Pound added another aspect to Propertius, that of irony. In other words, Pound created

the ironcal poet Properitus for the twentieth century.

Why Pound could incorporate this ironical aspect to Propertius is because he

used the gap between synchronical and chronological times, the former, what Pound

defined in his preface to The Spirit of Romance as “[all ages are contemporaneous,” the

latter, what we experience day by day, minute by minute.

In this essay, how Pound was able to create the ironical poet Propertius for the

twentieth century is demonstrated through the comparison of Pound’s text with the

original, and as a conclusion, the irony of how the act of translation that makes

Propertius new betrays Pound’s intention of preserving the tradition, and how Pound

places his persona Propertius among the forgotten poets will be illustrated.

36