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Ezra Pound and TS Eliot

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Ezra Pound and TS Eliot Notes 1. INTRODUCTION 1. See, for instance, Maud Ellmann, The Poeties of Impersonality: Ezra Pound and T. S. Eliot (Harvester Press, 1987) for arecent example of the former, and Grover Smith, The Waste Land (Allen & Unwin, 1983) for an example of the laUer. 2. See Wyndham Lewis, Blasting and Bombardiering: An Autobio­ graphy (1914-1926), first published in 1937 (John Calder, 1982), p.252. 3. Anthony Burgess, Joysprick: An Introduction to the Language of fames foyee (Andre Deutsch, 1973); Jeffrey Meyers, The Enemy: A Biography ofWyndham Lewis (Routledge & Kegan Paul, 1980); John Tytell, Ezra Pound: The Solitary Volcano (Bloomsbury, 1987); Hugh Kenner, The Invisible Poet: T. S. Eliot (Methuen, 1959). 4. James D. Watson, The Double Helix: being a personal aeeount of the diseovery of the structure of DNA (Weidenfeld & Nicolson, 1968). 5. I have been particularly struck by the ideas about 'influence' in Harold Bloom, The Anxiety of Influence: a Theory of Poetry (New York: Oxford University Press, 1973). However (in authentically Bloomian terms?), I have appropriated his ideas for my own ends: I construe 'influence' not in the sense of Bloom's neo-Freudian narrative of confrontation between individualliterary sons and forefathers, but in terms of post­ Freudian psychoanalytic interpretation of group activity between coequal rivals. At the same time, I am aware that my use of the terms 'monovocal' and 'polyvocal' is dose to 'monology' and 'dialogy' in Mikhail Bakhtin, Problems of Oosto­ evsky's Poeties, edited and translated by Caryl Emerson (Manchester University Press, 1984) and The Oialogic Imagin­ ation, edited by Michael Holquist and translated by Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981). However, I have not read Bakhtin in any detail 191 192 Notes to Chapter 1 and I prefer my own somewhat gestural metaphors to what I take to be Bakh tin' s theoreticist methodology. 6. See, for instance, W. R. Bion, Experiences in Groups and Other Papers (Tavistock, 1972) and S. H. Foulkes and E. J. Anthony, Group Psychotherapy: The Psychoanalytic Approach (Pelican, 1967). See also Bion and Group Psychotherapy, edited by Malcolm Pines (Routledge & Kegan Paut 1985) and W. R. Bion, Attention and Interpretation (Maresfield Reprints, 1984). 7. 'The basic assumption of pairing (ba P) is, in narrative terms, the collective and unconscious belief that whatever the present problems and needs of the grou p, something in the future or somebody still unborn, will solve it: in other words that there exists a hope of a messianic type .... In this emotional state what matters is the idea of the future, rather than the solution of present problems. In religious terms it is the hope of the birth of the messiah'. From Introduction to the Work of Bion: Groups, Knowledge, Psychosis, Thought, Transformations, Psycho­ analytic Practice, edited by Leon Grinberg, Dario Sor and Elizabeth Tabak de Bianchedi, translated by Alberto Hahn (Roland Harris Educational Trust, 1975), p. 15. 8. A word most associated with Ezra Pound. E.g. 'Tching prayed on the mountain and / wrote MAKE Ir NEW / on his bath tub', Canto LIII, Ezra Pound, The Cantos (Faber and Faber, 1986), p.265. 9. 'The map of the souls' groupography rose in relief within their quarterings' , James Joyce, Finnegans Wake, first published in 1939, (Faber and Faber, 1982), p. 476. Cf. also: 'the big four' (p. 384); 'senators four' (p. 474); 'four claymen' (p. 475); 'Three kings of three suites and a crowner' (p. 475) and 'the quobus quartet' (p. 513). See also above, pp. 159-60. 10. Joyce, Pound and Eliot quite literally so: Lewis, who was born off the coast of Canada, was educated in England; his father deserted hirn and his mother. Before 1914 he spent some years travelling in Europe and during the Second World War he lived, isolated, in Canada. Emotionally, all four men had the temperaments of exiles. I also had in mind Terry Eagleton's book Exiles and Emigres: Studies in Modern Literature (Schocken, 1970). 11. Within six months of a full, term-time teaching year, with the research as weIl as the writing completed during this period. 12. Such prestige (and hubris) is now invested more in theoretical Notes to Chapter 2 193 critics rather than imaginative writers - a power-shift worthy of note in the Postmodernist era. Even critics who denounce the 'canon' frequently set up one of their own - of the kind, Louis Althusser, Pierre Macherey, Jacques Derrida, Jacques Lacan, Michel Foucault, Jean-Francois Lyotard, Jürgen Haber­ mas, Julia Kristeva, etc. 13. Not always strictly so; thus, I have treated The ChiIdermass before 'Work in Progress' because the latter was spread over a long period of time. 14. I have particularly relied upon Richard Ellmann, James Joyce, New and Revised Edition (Oxford University Press, 1983); JeHrey Meyers, The Enemy (see note 3, above); Noel Stock, The Life of Ezra Pound (Penguin, 1985), and John Tytell, Ezra Pound, The Solitary Volcano (Bloomsbury, 1987); Peter Ackroyd, T. S. Eliot (Hamish Hamilton, 1984). 15. I have been most influenced by the following, more general, books: Stephen Spender, The Struggle of the Modern (Berkeley: University of California Press, 1965); Hugh Kenner, The Pound Era (University of California Press, 1973); Julian Symons, Makers of the New: The Revolution in Literature, 1912-39 (Andre Deutsch, 1987). 16. Dennis Brown, The Modernist SeIf in Twentieth-Century English Literature: A Study in Self-Fragmentation (Macmillan, 1989). 2. TO ANNOUNCE A NEW AGE 1. For such information I have relied mainly on the biographies listed under note 14 to the Introduction, and Julian Symons' Makers of the New. 2. See Jeffrey Meyers, The Enemy, p. 9. 3. Quoted by Noel Stock, The Life, p., 16. 4. See JeHrey Meyers, The Enemy, p. 10. 5. See Robert Wohl, The Generation of 1914 (Weidenfeld & Nicol­ son, 1980). See also Roland N. Stromberg, Redemption By War: The Intellectuals and 1914 (Lawrence: Regents Press of Kansas, 1982). 6. Wyndham Lewis, Blasting and Bombardiering, p. 252. Ford was then called Ford Madox HueHer; I have used the better-known name throughout. 7. T. E. Hulme, Speculations: Essays on Humanism and the Philosophy 194 Notes to Chapter 2 of Art, edited by Herbert Read (Routledge & Kegan Paul, 1965), p.122. 8. To Harriet Monroe, 18 August 1912, in Ezra Pound, Selected Letters 1907-1941, edited by D. D. Paige (Faber and Faber, 1982), p. 10. Pound is here writing about a specifically American 'Risorgimento' to the Chicago editor. However, the same spirit animates his enthusiasm for new art on an international basis. 9. Quoted by Peter Ackroyd, T. S. Eliot, p. 55. 10. BLAST 1, 1914 (reissued by Black Sparrow Press, Santa Barbara, 1981), p. 7. 11. In a letter to Grant Richards, quoted by Richard Ellmann, James Joyee, p. 221. 12. These are all terms used by Pound in his early criticism. See Ezra Pound, Literary Essays, edited by T. S. Eliot (Faber and Faber, 1968) and Selected Prose 1909-1965, edited by William Cookson (Faber and Faber, 1973), passim. 13. See James Joyce, A Portrait of the Artist as a Young Man (Penguin, 1968), p. 253. 14. See Ezra Pound, Antheil and The Treatise on Harmony (Chicago: William Bird, 1927). 15. In 'Tradition and the Individual Talent', T. S. Eliot, Selected Essays (Faber and Faber, 1958), p. 16. 16. See James Joyce, Portrait, pp. 212-13. 17. A tendency continued by the Serutiny cirele and F. R. Leavis of Cambridge, in particular: Leavis was considerably influenced by the critical thinking of early Pound and Eliot. 18. In this work, of course, Conrad compares and contrasts the writer's work with that of the 'man of science'. 19. In his review of Ulysses. See above, pp. 93-4. 20. See Jeffrey Meyers, The Enemy, p. 55, and Julian Symons, Makers ofthe New, p. 46. 21. Ezra Pound, Literary Essays, p. 58. 22. See, for instance, Marshall McLuhan, The Gutenberg Galaxy: the making of typographie man (Routledge & Kegan Paul, 1962). 23. Shelley's belief in the importance of the poet was inherited by the Modernists, but the twentieth-century emphasis was on presentation rather than explicit 'legislation' . Cf. note 25 below. 24. See T. S. Eliot, Selected Essays, p. 289. 25. 'Clear presentation is of the noblest traditions of our craft .... It means constatation of fact. It presents. It does not comment' . Ezra Pound, 'The Approach to Paris' - V, New Age, XIII, 23 Notes to Chapter 2 195 (2 October 1913), p. 662. 'Permanent literature is always a presentation', T. S. Eliot, The Sacred Wood: Essays on Poetry and Criticism (University Paperbacks, 1969), pp. 64-5. See, too, Joyce's comparison of the artist to an 'indifferent' god, Portrait, p.215. 26. See the poems 'Alba' and 'In aStation of the Metro', Ezra Pound, Selected Poems (Faber and Faber, 1981), p. 53. 27. T. S. Eliot, Selected Essays, p. 14. 28. See SelfCondemned, above, pp. 171-8. 29. Most particularly, Ulysses, The Waste Land, The Childermass, The Cantos, Four Quartets and Self Condemned. 30. See Anne Wright, The Literature ofCrisis (Macmillan, 1984). She sees the uncertainties about the outcome of the war as crucial to the 'end-anxiety' expressed in such texts as Shaw' s Heartbreak House, Lawrence's Women in Love and The Waste Land. 31. By association with BLAST. See above, pp. 46-8. 32. See Henry Adams, The Education of Henry Adams (1907), especially chapter 25, 'The Dynamo and the Virgin', reprinted in The American Tradition in Literature, edited by Sculley Bradley, Richard Croom Beatty and E. Hudson Long (New York: Norton, 1967), pp. 867-76. 33. The phrase of Harold Rosenberg - The Tradition of the New (New York: Horizon, 1959).
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