Ezra Pound and the Rhetoric of Science, 1901–1922
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Ezra Pound His Metric and Poetry Books by Ezra Pound
EZRA POUND HIS METRIC AND POETRY 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. -
The Thought of What America": Ezra Pound’S Strange Optimism
University of New Orleans ScholarWorks@UNO English Faculty Publications Department of English and Foreign Languages 2010 "The Thought of What America": Ezra Pound’s Strange Optimism John Gery University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/engl_facpubs Part of the Literature in English, North America Commons Recommended Citation Gery, John “‘The Thought of What America’: Ezra Pound’s Strange Optimism,” Belgrade English Language and Literature Studies, Vol. II (2010): 187-206. This Article is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. UDC 821.111(73).09-1 Pand E. John R O Gery University of New Orleans, USA “THE THOUGHT OF What AMerica”: EZRA POUND’S STRANGE OPTIMISM Abstract Through a reconsideration of Ezra Pound’s early poem “Cantico del Sole” (1918), an apparently satiric look at American culture in the early twentieth century, this essay argues how the poem, in fact, expresses some of the tenets of Pound’s more radical hopes for American culture, both in his unorthodox critiques of the 1930s in ABC of Reading, Jefferson and/or Mussolini, and Guide to Kulchur and, more significantly, in his epic poem, The Cantos. The essay contends that, despite Pound’s controversial economic and political views in his prose (positions which contributed to his arrest for treason in 1945), he is characteristically optimistic about the potential for American culture. -
Walter Pater — Imagism — Objectivist Verse
22 WALTER PATER — IMAGISM — OBJECTIVIST VERSE Richard Parker (The University of Sussex) Abstract In this paper I make a two-fold argument; first that the Objectivist inheritance from modernism is, in a specific sense, Paterian, and secondly, that this Paterian influence (manifested principally in the form of the Paterian aesthetic moment) is not, as might be assumed, in conflict with the political tendencies exhibited by my central examples—Ezra Pound and Louis Zukofsky—but that the arguably apolitical aesthetic moment is in fact key to their political understandings. I will begin analysing how the Paterian moment lingers in Pound's poetry, especially his Imagist and Vorticist work, and is still at the core of his poetics when he begins The Cantos . I will then go on to argue that this same Paterian aesthetic moment continues in the early work of second-generation Modernists the Objectivists, and will look at the works of Louis as a representative example. I will then argue that this group of poets' Communism is not a break with their engagement with Paterian aestheticism, but that the Paterian moment is in fact alloyed with their understanding of Marxist-Leninism. The engagement with the far left that is generally supposed to mark these writers' defining divide with their modernist forebears will therefore be shown to be more closely linked to the older generation's practices than it might be thought and I will, finally, question the apparently aesthetic basis of Pound's alignment with the far-right. A consensus has developed regarding Walter Pater's influence upon the early stages of literary modernism. -
The Luminous Detail: the Evolution of Ezra Pound's Linguistic and Aesthetic Theories from 1910-1915
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-21-2014 12:00 AM The Luminous Detail: The Evolution of Ezra Pound's Linguistic and Aesthetic Theories from 1910-1915 John J. Allaster The University of Western Ontario Supervisor Stephen J. Adams The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © John J. Allaster 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Literature in English, North America Commons Recommended Citation Allaster, John J., "The Luminous Detail: The Evolution of Ezra Pound's Linguistic and Aesthetic Theories from 1910-1915" (2014). Electronic Thesis and Dissertation Repository. 2301. https://ir.lib.uwo.ca/etd/2301 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THE LUMINOUS DETAIL: THE EVOLUTION OF EZRA POUND’S LINGUISTIC AND AESTHETIC THEORIES FROM 1910-1915 by John Allaster Graduate Program in English A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © John Allaster 2014 Abstract In this study John Allaster traces the evolution of Ezra Pound’s linguistic theories from the method of the Luminous Detail during 1910-12, to the theory of the Image in Imagism during 1912-13, to that of the Vortex in Vorticism during 1914-1915. -
J. M. Dent and Sons (London: 1909- ) J
J. M. Dent and Sons (London: 1909- ) J. M. Dent and Company (London: 1888-1909) ~ J. M. Dent and Sons has published an impres sive list of books by contemporary authors, but it made its mark on publishing history with its inex pensive series of classic literature. Everyman's Li brary in particular stands as a monument to the firm. It was not the first attempt at a cheap uni form edition of the "great books," but no similar series except Penguin Books has ever exceeded it in scope, and none without exception has ever matched the high production standards of the early Everyman volumes. Joseph Malaby Dent, born on 30 August 1849, was one of a dozen children of a Darling ton housepainter. He acquired his love of litera ture from the autodidact culture that flourished among Victorian artisans and shopkeepers. Dent attended a "Mutual Improvement Society" at a local chapel, where he undertook to write a paper on Samuel Johnson. Reading James Boswell's biography of Johnson, he was aston ished that the great men of the period-such as Edmund Burke, Sir Joshua Reynolds, Oliver Goldsmith-"should bow down before this old Juggernaut and allow him to walk over them, in sult them, blaze out at them and treat them as if they were his inferiors . At last it dawned on me that it was not the ponderous, clumsy, dirty old man that they worshipped, but the scholar ship for which he stood." Boswell's The Life of Sam uel Johnson, LL.D. ( 1791) taught Dent that "there JosephMa/,alry Dent (photographlry Frederick H. -
READING POUND : ONE 1. in Vain Have I Striven to Teach My Heart To
READING POUND : ONE 1. In vain have I striven to teach my heart to bow; In vain have I said to him "There be many singers greater than thou." But his answer cometh, as winds and as lutany, As a vague crying upon the night That leaveth me no rest, saying ever, "Song, a song." Their echoes play upon each other in the twilight Seeking ever a song. Lo, I am worn with travail And the wandering of many roads hath made my eyes As dark red circles filled with dust. Yet there is a trembling upon me in the twilight, And little red elf words crying "A song," Little grey elf words crying for a song, Little brown leaf words crying "A song," Little green leaf words crying for a song. The words are as leaves, old brown leaves in the spring time Blowing they know not whither, seeking a song. White words as snow flakes but they are cold Moss words, lip words, words of slow streams. In vain have I striven To teach my soul to bow, In vain have I pled with him, "There be greater souls than thou." For in the morn of my years there came a woman As moon light calling As moon calleth the tides, "Song, a song." Wherefore I made her a song and she went from me As the moon doth from the sea, But still came the leaf words, little brown elf words Saying "The soul sendeth us." A song, a song!" And in vain I cried unto them "I have no song For she I sang of hath gone from me." Ezra Pound, initial two-thirds of 'Praise of Ysolt', the first piece in Personae (London, April 1909); reprinted in Umbra (London, June 1920), in Collected Shorter Poems (London, 1952), pp. -
Richard Parker
ON IN MEMORY OF YOUR OCCULT CONVOLUTIONS Richard Parker 317 GLOSSATOR 8 In Memory of Your Occult Convolutions1 1 Keston Sutherland’s ‘In Memory of Your Occult Convolutions’ was written for, and delivered at, a poetry reading organised to coincide with the 24th Ezra Pound Conference, London, July 5-9, 2011. The audience was predominantly made up of Pound scholars from around the world. The poem is constructed from excerpts from essays by Ezra Pound that deal with the relation of pedagogy to literature; ‘How to Read’ (1929), ‘The Serious Artist’ (1913), ‘The Teacher’s Mission’ (1934) and ‘The Constant Preaching to the Mob’ (1916). They are all collected, consecutively, in T.S. Eliot’s edition of the Literary Essays of Ezra Pound (1954) [hereafter LE]. Further extracts are taken from the poems ‘Fratres Minores’ (1914) and Homage to Sextus Propertius (1919), as well as Pound’s early critical work The Spirit of Romance (1910). The ‘Occult Convolutions’ of the title are taken from section 24 (of the 1892 version) of Walt Whitman’s ‘Song of Myself’. If I worship one thing more than another it shall be the spread of my own body, or any part of it, Translucent mould of me it shall be you! Shaded ledges and rests it shall be you! Firm masculine colter it shall be you! Whatever goes to the tilth of me it shall be you! You my rich blood! your milky stream pale strippings of my life! Breast that presses against other breasts it shall be you! My brain it shall be your occult convolutions! Root of wash’d sweet-flag! timorous pond-snipe! nest of guarded duplicate eggs! it shall be you! Mix’d tussled hay of head, beard, brawn, it shall be you! Trickling sap of maple, fibre of manly wheat, it shall be you! Sun so generous it shall be you! Vapors lighting and shading my face, it shall be you! You sweaty brooks and dews it shall be you! Winds whose soft-tickling genitals rub against me it shall be you! Broad muscular fields, branches of live oak, loving lounger in my winding paths, it shall be you! Hands I have taken, face I have kiss’d, mortal I have ever touch’d, it shall be you. -
Alan Munton Replies to a Review in Art History I Don't Like Having My
Alan Munton replies to a review in Art History I don’t like having my words altered by a reviewer, which is why I am replying to Dr Sarah Victoria Turner’s review of an essay by me. The essay was on Pat Barker’s Life Class, a novel published in 2007. My discussion was in London, Modernism, and 1914, an essay collection edited by Michael Walsh. Barker’s novel, I argued, was a travesty of life at the Slade in 1914, bringing forward the reactionary teaching of Henry Tonks as if it had influenced positively a number of modernist or near-modernist artists: C. R. W. Nevinson, Dora Carrington, Mark Gertler, Paul Nash – all are lightly fictionalised in Life Class. My argument was that Barker’s would-be feminist novel privileges these artists when there were actual women artists who were genuinely active in 1914, notably Helen Saunders and Jessica Dismorr. They were associated with Wyndham Lewis’s Blast, the magazine which was the seismic event of 1914 for young artists, but which Barker somehow forgets to mention at all. I also made the case for Kate Lechmere, who financed Lewis’s Rebel Art Centre and was a cubist artist herself. Faced with this argument, Sarah Victoria Turner decided to have a little feminist fun at my eXpense. Her review appeared in Art History in 2012. Setting aside what I actually said, she pretends to believe that my strategy was “to challenge feminist readings of vorticism and its journal, Blast, which, he argues have been ‘so reprehensible from a feminist point of view’”. -
Winifred Holtby
The 'Gospel of Detachment': Remembrance, Exile, and Engagement in Women's Lives and Writing in England Between the Wars. Daragh D. Catherine Russell Submitted in partial fulfillment of the requirements for the degree of Master of Arts Daihousie University Halifax, Nova Scotia, Canada 1998 O Copyright by Daragh D. Catherine Russell, 1998 National Library Bibiioaièque nationale du Canada Acquisitions and Aaquisitions et 51biiiraphicSeMces senrices bibliographiques 395 welbgton Street 395, Ne we)nngtm OttawaON K1AW OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une Licence non exclusive licence dowing the exciusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distri'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de micdche/nlm, de reproduction sur papier ou sur format élecironique. The author retams ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Canada This thesis is dedicated to Florence Olden Haggarty (1914--), and to the memory of Blanche Gosse Russell (191 7-1 986). Table of Contents Abstract Acknowledgments 1 Introduction: Noncombatants and Survivors. 2 Testaments of a Generation? Women's War Memoirs and the Problem of Authority. 3 'Detached Cornmitment': Ferninism, Tirne And Tide, and Winifred Holtby. -
Canadian Literature at Home and Abroad: International Contexts of W.D
Canadian Literature at Home and Abroad: International Contexts of W.D. Lighthall’s Songs of the Great Dominion (1889) and Robert Weaver’s Canadian Short Stories (1960) Carole Gerson he recently published collection of essays, Anthologizing Canadian Literature: Theoretical and Critical Perspectives (2015), enhances editor Robert Lecker’s groundbreaking Tbook, Keepers of the Code: English-Canadian Literary Anthologies and the Representation of Nation (2013), with in-depth studies by other scholars who address the significance of anthologies in Canadian literary stud- ies by focusing on the contents, editing, production, reception, and/ or cultural contexts of specific examples of the genre. Supporting this aspect of Canada’s literary history is the impressive enumerative bibli- ography of English-Canadian literary anthologies, issued by Lecker in 1997 with the assistance of Colin Hill and Peter Lipert, that lists more than two thousand English-Canadian literary anthologies published from 1837 to 1997. In these endeavours, scholars have concentrated on the Canadian contexts of Canadian literary anthologies, exemplified in Janet Friskney’s chapter on the publishing history of this genre, which analyzes the 94.5% of Lecker’s bibliographic entries that were issued in Canada (184). Missing from all of this fine scholarship is attention to the role of off-shore producers of several important national anthologies that owe their existence to the international reach of British publishers. This essay argues that the full story of Canadian literary anthologies requires recognition of non-Canadian instances of their production, best understood in relation to the aims of each volume’s publishing house and the goals of its editor. -
'To Suffragettes. a Word of Advice…'. Blast, Gender and 'Art Under Attack'
‘To Suffragettes. A Word of Advice…’. Blast, Gender and ‘Art under Attack’ Ana Gabriela Macedo Universidade do Minho Abstract: “Art under Attack” is the title of an exhibition that took place at Tate Britain in London (Oct. 2013- Jan. 2014). In this paper I will concentrate on an exemplary case of such an iconoclastic attack, which was indexed in this exhibition as political – I am referring to the attack of the suffragette Mary Richardson to Velázquez’s Rokeby Venus, in March 1914. My argument is that militant Suffragettes were in fact the first Guerilla Girls of the 20th century, largely anticipating the latter performative and anti-establishment gesture in the Museum and denouncing the institutional space of art as deeply gendered and discriminatory, and, moreover, reclaiming it as a public space of political citizenship, democratic intervention and anti-iconoclastic debate. This will be discussed in the context of and in a dialogue with the Vorticist aesthetics and the outbreak of World War I. In fact Blast 1, the shocking bright pink Vorticist magazine was published on the 20th June 1914, exactly three months after the Rokeby Venus’ attack, and roughly a month (exactly 33 days), before the first World War was declared through the invasion of Serbia (28 July 2014). Key-words: Suffragette; Gender; Avantgarde; Art; Guerilla Girls Resumo: “Art under Attack” é o título de uma exposição que teve lugar na Tate Britain em Londres (Out. 2013-Jan. 2014). O foco e ponto de partida do presente artigo é a análise de um caso exemplar de ataque iconoclasta, o qual foi identificado nesta exposição como sendo de índole política – trata-se concretamente do famoso ataque da sufragista Mary Richardson à não menos famosa pintura de Diego Velázquez, A Vénus ao espelho. -
Life: 1885-1886
LIFE: 1885-1886 1885 was a busy and productive year for Sharp. He joined the staff of the Academy, under the editorship of James Cotton, and also contributed to the Art Journal, the Examiner, the Athenaeum, and Good Words. Following a summer holiday in a cottage on West Loch Tarbert in Argyll, Sharp Adeveloped disquieting rheumatic symptoms (Memoir, 122), but still managed to write in the fall a three volume sensational novel set in Scotland and Australia called The Sport of Chance. It was published serially in The People’s Friend in early 1887 and, in 1888, in book form by Hurst and Blackett. In fall 1885, he also began to plan a biography of Shelly for Walter Scott’s Great Writers Series which was edited by his good friend Eric Robertson and, later, by Frank T. Marzial. For this series, Sharp wrote, in addition to the Shelly (1887), biographies of Heine (1888) and Browning (1890). Also during1885 he was appointed General Editor of a complimentary Walter Scott poetry series, the Canterbury Poets, and wrote introductions for two of its volumes, The Poetical Works of Sir Walter Scott and The Songs, Poems, and Sonnets of William Shakespeare, both published in 1885. Ernest Rhys, another friend, edited a prose series for Walter Scott, the Camelot Classics, and he invited Sharp to write the introduction for De Quincey’s Confessions of an English Opium-Eater (1886). Rhys claimed (Wales England Wed, p. 90) that when illness in 1886 forced Sharp to delay work on the introduction he wrote it himself and signed Sharp’s name.