Pound Imagism

8/19/2019 Pound Imagism

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Ezra Pound

Ezra Pound

ANDImagism


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Pound’s Biography(Encyc opedia Bri annica"

• Ezra Pound, in #u Ezra Loomis Pound ($orn %c & ' )*++,) -ai ey) Idaho ) .&/&0died No1& *) *234) 5enice ) I a y") American poe and cri ic) a supreme y discerning and energe icen repreneur o# he ar s who did more han any o her sing e #igure oad1ance a 6modern7 mo1emen in Eng ish and American i era ure &Pound promo ed) and a so occasiona y he ped o shape) he wor8o# such wide y di##eren poe s and no1e is s as 9i iam Bu er :ea s );ames ;oyce ) Ernes -emingway ) awrence)and T&/& E io & -is pro?=ascis $roadcas s in I a y during 9or d 9ar II

ed o his pos war arres and con#inemen un i *2,+&

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• In he au umn o# *2 3) Pound $ecame pro#essor o#


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• Pound was born in a small mining town in Idaho, the only child of a Federal LandOffice official, Homer Loomis Pound of Wisconsin, and Isabel Weston of NewYor !ity" #bout $%%& the family mo'ed to the eastern states, and in (une $%%),following Homer Pound*s a++ointment to the "-" .int in Philadel+hia, theysettled in nearby Wyncote, where Pound li'ed a normal middle/class childhood"

• #fter two years at !heltenham .ilitary #cademy, which he left withoutgraduating, he attended a local high school" From there he went for two years0$)1$2134 to the ni'ersity of Pennsyl'ania , where he met his lifelong friend, the

+oet William !arlos Williams " He too a Ph"5" 0bachelor of +hiloso+hy4 degree atHamilton !ollege , !linton, N"Y", in $)16 and returned to the ni'ersity ofPennsyl'ania for graduate wor " He recei'ed his ."#" in (une $)17 but withdrewfrom the uni'ersity after wor ing one more year toward his doctorate" He left witha nowledge of Latin, 8ree , French, Italian, 8erman, -+anish, Pro'en9al, and#nglo/-a:on, as well as of ;nglish literature and grammar"

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• -e had $een o Europe hree imes $e#ore) hehird ime a one in he summer o# *2 C) when he

had ga hered he ma eria #or his #irs hree

pu$ ished ar ic es Raphaelite Latin, concerninghe >a in poe s o# he


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• Now) wi h i e money) he sai ed o i$ra ar andsou hern /pain) hen on o 5enice) where in ;une *2 +he pu$ ished) a his own eFpense) his #irs $oo8 o#poems) # lume spento & A$ou /ep em$er *2 + he wen

o >ondon) where he was $e#riended $y he wri er andedi or =ord MadoF =ord (who pu$ ished him inhis $nglish Re%iew ") en ered 9i iam Bu er :ea s ’scirc e) and oined he 6schoo o# images)7 a modern group

presided o1er $y he phi osopher T&E& -u me&

http://global.britannica.com/EBchecked/topic/213201/Ford-Madox-Fordhttp://global.britannica.com/EBchecked/topic/652421/William-Butler-Yeatshttp://global.britannica.com/EBchecked/topic/275295/TE-Hulmehttp://global.britannica.com/EBchecked/topic/275295/TE-Hulmehttp://global.britannica.com/EBchecked/topic/652421/William-Butler-Yeatshttp://global.britannica.com/EBchecked/topic/213201/Ford-Madox-Ford


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• In Eng and) success came uic8 y o Pound& A $oo8 o# poems)Personae ) was pu$ ished in Apri *2 2G a second $oo8) $&ultations )#o owed in %c o$erG and a hird $oo8) 'he (pirit o Romance ) $asedon ec ures de i1ered in >ondon (*2 2H* ") was pu$ ished in *2* &

• A# er a rip home0a as despera e and unsuccess#u a emp oma8e a i erary i#e #or himse # in Phi ade phia or New :or8 @i y0here urned o Europe in =e$ruary *2**) 1isi ing I a y) ermany) and=rance& Toward he end o# *2** he me an Eng ish ourna is )

A #red


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• In *2*4 Pound $ecame >ondon corresponden #or he smamagazine Poetry (@hicago"G he did much o enhance hemagazine’s impor ance and was soon a dominan #igure in Ang o?

American 1erse& -e was among he #irs o recognize and re1iew hepoe ry o# awrence and o praise hescu p ure o# he modernis s ;aco$ Eps ein and-enri audier?Brzes8a & As eader o# he Imagis mo1emen o# *2*4H* ) successor o# he 6schoo o# images)7 he drew up he #irs Imagismani#es o) wi h i s emphasis on direc and sparse anguage andprecise images in poe ry) and he edi ed he #irs Imagisan ho ogy) Des Imagistes (*2* "&

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• -e con inued o pu$ ish his own poe ry(Ripostes ) *2*4G Lustra ) *2*C"and prose cri icism ( Pa%annes an" Di%isions )

*2*+"& =rom he i erary remains o# he grea%rien a is Ernes =eno osa) which had $eenpresen ed o Pound in *2*') he succeeded inpu$ ishing high y acc aimed Eng ish 1ersions o#ear y @hinese poe ry) Cathay (*2*,") and wo1o umes o# ;apanese Noh p ays (*2*CH*3" aswe &


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Juo a ions


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Juo a ions


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5or ograph por rai o# Ezra Pound $y A 1in>angdon @o$urn


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@on ri$u ions o Modernis Poe ry

• More han any o her wri er) he wasresponsi$ e #or drama ic changesoccurring wi h poe ry&

• .rged wri ers o 6ma8e i new7• In# uenced o her wri ers o discard

radi iona #orms) echni ues) and ideas• EFperimen ed wi h new approaches• -is mo1emen was ca ed IMAGISM


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Poetry in PicturesImagis poe s #ocused heir wri ing on simp e images& They a emp ed ouse words o pain pic ures in heir readers’ minds&


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What is Imagism?

• A poetic movement establishedin1912 by American and Englishpoets Ezra Pound, Hilda Doolittle,

ichard Aldington, and !" #" !lint• $nspired by the critical vie%s o& '"E"

Hulme, in response to the carelessthought and omantic optimism hesa% prevailing in the literary arena"


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• (ed by Ezra Pound, this poetic movement%as part o& a poetic insurgence againstgenteel poetry, %hich %as overlysentimental and emotionally dishonest"

• $magist poets believed that omantic art%as ovee)cessively sub*ective, and argued&or a rene%ed emphasis on the ob*ect+li enature o& the art+%or "

• $magists penned concise verses %ith drypiercing clarity, e)acting visual images andimagery"


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Imagism

• Poe ry wri en ha e1o8es pic ures or images #orhe reader

• Direc presen a ion o# images) or word pic ures

• 9ord choice is speci#ic• Ad ec i1es are used o enhance he speci#ici y o#

word choice) BUT hey are no o1er?used&• A emp o #reeze a sing e momen in ime and

cap ure he emo ions o# ha momen• Imagis poe ry o# en re# ec in# uences o# hai8u or

an8a


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Pound’s Poe ry

• -is poe ry re# ec s a deep in eres in hepas ) par icu ar y o# ancien cu ures

• @hinese) ;apanese) and Pro1enca =rench• Poems are #i ed wi h i erary and his orica

allusions• -is poems are di##icu o unders and

$ecause hey are 1oid o# eFp ana ions andgenera iza ions

• 9ro e 'he Cantos ) ong poe ic se uencewhere he eFpressed his $e ie#s (e1en ua y

o a ing **C can os"


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A usion

• An a usion is a re#erence o some hingwe 8nown (ie piece o# ar ) i era ure)his orica e1en "


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Pound’s Poem


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KIn A Station of the Metro K

• In his poem he poe in ends he reader o unders andha he #aces seen in a su$way s a ion are i8e we )

#a en # ower pe a s on a $ough& -owe1er) he poe a sowan s o deepen he readerLs percep ion& This Poundaccomp ishes $y he word ha appears a he head o#

he poem Lappari ionL& In his sing e word Pound ?disp aying his Modernis creden ia s ? a ies himse # wi h

he radi ion in wes ern poe ry o# comparing sou s o

#a en ea1es& These peop e may ha1e $een o$ser1ed ina su$way s a ion) $u he reader is meano percei%e hem as #igura i1e spiri s o# he dead ? a

s andard Modernis a usion&


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KIn A Station of the Metro K

• There are no 1er$s in his poem) ma8ing i on y a uF aposi ion o#wo images& I use ha word) uF aposi ion) no o $e pre en ious $uo con1ey a sense o# 1isua p acemen ) as i# he poe were a pain er

and hese images are 1isi$ y $eside each o her as i# in a pain ing&The semico on is an in eres ing choice& i1en ha Pound descri$ed

his poem as an e ua ion) and ha he semico on can $e used o(somewha paradoFica y" in8 relate", in"epen"ent c auses) i#unc ions as an e ua sign) pro1iding wo ways o# eFpressing asimi ar hing& 9hereas 4 4 and are #igures or sym$o s haeFpress he same K uan i y)K he Kappari ion o# hese #aces in he

crowdK and Kpe a s on a we ) $ ac8 $oughK eFpress a simi arK ua i y&K

Pound Imagism

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