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The Great War and the Language of Modernism

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The Great War and the Language of Modernism The Great War and The Language of Modernism Vincent Sherry OXFORD UNIVERSITY PRESS the great war and the language of modernism This page intentionally left blank the great war and the language of modernism Vincent Sherry 3 3 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Taipei Tokyo Toronto Copyright © by Vincent Sherry Published by Oxford University Press, Inc. Madison Avenue, New York, New York www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Sherry, Vincent B. The Great War and the language of modernism / Vincent Sherry. p. cm. Includes bibliographical references (p. ) and index. ISBN --- . American poetry—th century—History and criticism. World War, –—Great Britain—Literature and the war. Eliot, T. S. (Thomas Stearns), –—Views on war. Americans—Great Britain—History —th century. Woolf, Virginia, –—Views on war. Pound, Ezra, –—Views on war. Modernism (Literature)— Great Britain. I. Title. PS.W S '.—dc Printed in the United States of America on acid-free paper TO SOPHIA The gentler hour of an ultimate day This page intentionally left blank ACKNOWLEDGMENTS Like its historical subject, this book has taken a good deal longer than expected to complete. Strangers, developing acquaintances, and long-standing friends have aided it in every way conceivable. For help that has ranged from points of local advice on topical problems to detailed readings of a lengthy manuscript, I want to thank a number of people whose individual spirits exceed their place in a series of names, who, one by one, have been generous and skeptical, curious and demanding: Scott Black, Jessica Burstein, Ronald Bush, James Chandler, Reed Way Dasenbrock, Jed Esty, Paul Fussell, Sharon Cournoyer Howell, Ro- mana Huk, Samuel Hynes, David Kadlec, Cathy Karmilowicz, Seth Koven, Edna Longley, John Matthias, Ella Ophir, Patricia Rae, Lawrence Rainey, John Paul Russo, Tim Redman, Jill Stevens, Connie Titone, John Whittier-Fergu- son, and Laura Winkiel. To William Blissett, I express special gratitude for continuing education; to Melita Schaum, for standing by words, and for the courage of standing by; to Marjorie Perloff, for her openness, intelligence, and honesty; and to A. Walton Litz, who has gathered from the air a live tradition, and who knows it was not folly. To my daughter, Sophia, I dedicate this book in the words of a poet, which she and I will specially understand. To the staff at the Newspaper Library of the British Library, London, I express my sincere gratitude for the special consideration they have extended to me. The extraordinary resources of the Photographic Archive and Docu- ments Library of the Imperial War Museum, London, have been made avail- able to me with the most helpful courtesy. The support that Villanova Univer- sity has provided for this book has been in every sense exemplary. I want to thank especially the Reverend Kail Ellis, dean of the College of Liberal Arts and Sciences; Charles Cherry and (now, sadly, in memory) Phillip Pulsiano, chairs of the English Department; Susan Burns, for the inexhaustible skill and ACKNOWLEDGMENTS wit of her office; my graduate assistants Nancy Comerau, Ellen Massey, and Ellen Fiskett; and the staff at Falvey Memorial Library, especially Judith Olsen. I record my gratitude to the Office of Research and Sponsored Projects, Villanova University, for two summer research fellowships, and to the National Endowment for the Humanities for the opportunity of codirecting a summer seminar, “Ezra Pound and His Contemporaries,” at Brunenburg, Merano, Italy, where Mary de Rachewiltz remains legendary for her grace and hospital- ity. I was able to further the work of this book considerably with the Mountjoy Fellowship in Modern Poetry at Durham University, England, and I want to thank Ric Caddel and Diana Collecott for kindnesses little and large. At Oxford University Press, New York, the readers for this project have given anonymity a good name; I have profited much from those suggestions. Jeremy Lewis pro- vided invaluable assistance. And Elissa Morris proved the truest values of the trusted editor: steadfastness as well as humor, the wit of an accomplice. Grateful acknowledgment is given to the New Directions Publishing Corpora- tion and Faber and Faber Ltd. for permission to quote from the following copy- righted works of Ezra Pound: Personae (copyright © by Ezra Pound); The Cantos (copyright © , , , , , , , , , and by Ezra Pound); Pound/Lewis (copyright © by the Trustees of the Ezra Pound Literary Property Trust); The Selected Letters of Ezra Pound to John Quinn, – (copyright © by Duke University Press and the Trustees of the Ezra Pound Literary Property Trust); Gaudier-Brzeska (copy- right © by Ezra Pound); Selected Letters – (copyright © by Ezra Pound); and Ezra Pound’s Poetry and Prose: Contributions to Periodicals (copyright © by the Trustees of the Ezra Pound Literary Property Trust). Grateful acknowledgment is made to Faber and Faber Ltd. and Harcourt Brace Jovanovitch and the Literary Estate of T. S. Eliot for permission to quote from the following copyrighted works by T. S. Eliot: Collected Poems –; The Waste Land: A Facsimile and Transcript of the Original Drafts, ed. Valerie Eliot; Inventions of the March Hare: Poems – (copyright © by Valerie Eliot, used by permission of Harcourt, Inc.); The Letters of T. S. Eliot –, ed. Valerie Eliot (copyright © by SET Copyrights Limited, reprinted by permission of Harcourt, Inc.); and The Sacred Wood. Grateful ac- knowledgment is made to Harcourt Brace Jovanovitch, to the Random House Group (U.K.), and to the Society of Authors as the Literary Representative of the Estate of Virginia Woolf, for permission to quote from the following works by Virginia Woolf: extracts from Mrs. Dalloway by Virginia Woolf (copyright © by Harcourt, Inc., and renewed , reprinted by permission of the pub- lisher); excerpts from To the Lighthouse by Virginia Woolf (copyright © by Harcourt, Inc., and renewed by Leonard Woolf, reprinted by permission of the publisher); excerpts from The Letters of Virginia Woolf, vol. , – , ed. Nigel Nicolson (copyright © by Quentin Bell and Angelica Gar- viii ACKNOWLEDGMENTS nett, reprinted by permission of Harcourt, Inc.); excerpts from The Diary of Virginia Woolf, vol. , – (copyright © by Quentin Bell and An- gelica Garnett, reprinted by permission of Harcourt, Inc.); excerpts from The Diary of Virginia Woolf, vol. , – (copyright © by Quentin Bell and Angelica Garnett, reprinted by permission of Harcourt, Inc.); excerpts from “Mrs. Dalloway in Bond Street” in The Complete Shorter Fiction of Vir- ginia Woolf by Susan Dick (copyright © by Quentin Bell and Angelica Garnett, reprinted by permission of Harcourt, Inc.); excerpts from “A Soci- ety,” “The Evening Party,” “The Mark on the Wall,” “Solid Objects,” and “An Unwritten Novel” from A Haunted House and Other Short Stories by Virginia Woolf (copyright © and renewed by Harcourt, Inc., reprinted by permission of the publisher); excerpts from A Room of One’s Own by Virginia Woolf (copyright © by Harcourt, Inc., and renewed by Leonard Woolf, reprinted by permission of the publisher); excerpts from Jacob’s Room by Virginia Woolf (copyright © by Harcourt, Inc., and renewed by Leonard Woolf, reprinted by permission of the publisher); excerpts from “A Sketch of the Past” in Moments of Being by Virginia Woolf (copyright © by Quentin Bell and Angelica Garnett, reprinted by permission of Harcourt, Inc.); to the Society of Authors as the Literary Representative of the Estate of Virginia Woolf for extracts from The Voyage Out, Jacob’s Room, A Room of One’s Own, Mrs. Dalloway, and To the Lighthouse; and to the Random House Group for The Essays of Virginia Woolf, vol. , The Letters of Virginia Woolf, vol. , The Diary of Virginia Woolf, vols. and , and Moments of Being, by Virginia Woolf, published by the Hogarth Press, and for extracts from The Complete Shorter Fiction of Virginia Woolf, ed. Susan Dick and published by Chatto and Windus, used by permission of the Executors of the Virginia Woolf Estate and the Random House Group Limited. For permission to reproduce photographs of Ezra Pound and T. S. Eliot by E. O. Hoppé, formerly in the Mansell Collection, London, acknowledgment is made to TimePix. For permission to reproduce the studio portrait of Virginia Woolf, grateful acknowledgment is made to the Estate of Quentin Bell. For permission to reproduce the illustration by Wyndham Lewis, grateful ac- knowledgment is made to the Tate Gallery, London, and the Estate of Mrs. G. A. Wyndham Lewis. Reproductions of the following photographs appear by courtesy of the Imperial War Museum, London: figures (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), (Q), and (Q). ix This page intentionally left blank CONTENTS ILLUSTRATIONS xiii PROLOGUE 1 Liberal Measures Prolegomenon to a Poetics of English Modernism I Harmonic Politics II The Journalistic Turn III The Literary State IV Critical Poetics INTERCHAPTER 1 Lessons for the Relative Alien 2 Pound’s Savage Ratios I Mimicry, with Differences II The Student of Contemporary Mentality III The Arranger of Inanities IV Homage to Sextus Propertius V Propoundius: His Aftermath VI The Decay of This Generation INTERCHAPTER 2 Stein CONTENTS 3 Mr. Eliot’s Wartime Services I Oppositions, Repossessions, Performances II English, in French III Powers of Four IV Sunday Morning Decadence V Poetic Modernism VI Pound, Eliot, and the Making of The Waste Land: Policing the Voices INTERCHAPTER 3 Ford 4 Woolf, Among the Modernists I Voyaging Out II Shorts III Jacob’s Room IV Mrs.
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