{"id":51,"date":"2015-08-25T03:20:07","date_gmt":"2015-08-25T03:20:07","guid":{"rendered":"http:\/\/teaching.lfhanley.net\/eng528f15\/?page_id=51"},"modified":"2015-08-25T03:20:07","modified_gmt":"2015-08-25T03:20:07","slug":"ezra-pound","status":"publish","type":"page","link":"https:\/\/teaching.lfhanley.net\/english528fa17\/texts\/ezra-pound\/","title":{"rendered":"Ezra Pound"},"content":{"rendered":"

“In a Station of the Metro” (1913)<\/strong><\/p>\n

The apparition of these faces in the crowd;
\nPetals on a wet, black bough.<\/p>\n

 <\/p>\n

“A Retrospect” (1918)<\/strong><\/p>\n

There has been so much scribbling about a new fashion in poetry, that I may perhaps be pardoned this brief recapitulation and retrospect.<\/p>\n

In the spring or early summer of 1912, \u201cH. D.,\u201d Richard Aldington and myself decided that we were agreed upon the three principles following:<\/p>\n

    \n
  1. Direct treatment of the \u201cthing\u201d whether subjective or objective.<\/li>\n
  2. To use absolutely no word that does not contribute to the presentation.<\/li>\n
  3. As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.<\/li>\n<\/ol>\n

    Upon many points of taste and of predilection we differed, but agreeing upon these three positions we thought we had as much right to a group name, at least as much right, as a number of French \u201cschools\u201d proclaimed by Mr. Flint in the August number of Harold Monro\u2019s magazine for 1911.<\/p>\n

    This school has since been \u201cjoined\u201d or \u201cfollowed\u201d by numerous people who, whatever their merits, do not show any signs of agreeing with the second specification. Indeed vers libre has become as prolix and as verbose as any of the flaccid varieties that preceded it. It has brought faults of its own. The actual language and phrasing is often as bad as that of our elders without even the excuse that the words are shovelled in to fill a metric pattern or to complete the noise of a rhyme-sound. Whether or no the phrases followed by the followers are musical must be left to the reader\u2019s decision. At times I can find a marked metre in \u201cvers libres,\u201d as stale and hackneyed as any pseudo-Swinburnian, at times the writers seem to follow no musical structure whatever. But it is, on the whole, good that the field should be ploughed. Perhaps a few good poems have come from the new method, and if so it is justified.<\/p>\n

    Criticism is not a circumscription or a set of prohibitions. It provides fixed points of departure. It may startle a dull reader into alertness. That little of it which is good is mostly in stray phrases; or if it be an older artist helping a younger it is in great measure but rules of thumb, cautions gained by experience.<\/p>\n

    I set together a few phrases on practical working about the time the first remarks on imagisme were published. The first use of the word \u201cImagiste\u201d was in my note to T. E. Hulme\u2019s five poems, printed at the end of my \u201cRipostes\u201d in the autumn of 1912. I reprint my cautions from Poetry<\/em> for March, 1913.<\/p>\n

    A FEW DON\u2019TS<\/strong><\/p>\n

    An \u201cImage\u201d is that which presents an intellectual and emotional complex in an instant of time. I use the term \u201ccomplex\u201d rather in the technical sense employed by the newer psychologists, such as Hart, though we may not agree absolutely in our application.<\/p>\n

    It is the presentation of such a \u201ccomplex\u201d instantaneously which gives that sense of sudden liberation; that sense of freedom from time limits and space limits; that sense of sudden growth, which we experience in the presence of the greatest works of art.<\/p>\n

    It is better to present one Image in a lifetime than to produce voluminous works.<\/p>\n

    All this, however, some may consider open to debate. The immediate necessity is to tabulate A LIST OF DON\u2019TS for those beginning to write verses. I can not put all of them into Mosaic negative.<\/p>\n

    To begin with, consider the three propositions (demanding direct treatment, economy of words, and the sequence of the musical phrase), not as dogma\u2014never consider anything as dogma\u2014but as the result of long contemplation, which, even if it is some one else\u2019s contemplation, may be worth consideration.<\/p>\n

    Pay no attention to the criticism of men who have never themselves written a notable work. Consider the discrepancies between the actual writing of the Greek poets and dramatists, and the theories of the Graeco-Roman grammarians, concocted to explain their metres.<\/p>\n

    LANGUAGE<\/em><\/p>\n

    Use no superfluous word, no adjective which does not reveal something.<\/p>\n

    Don\u2019t use such an expression as \u201cdim lands of peace.\u201d It dulls the image. It mixes an abstraction with the concrete. It comes from the writer\u2019s not realizing that the natural object is always the adequate symbol.<\/p>\n

    Go in fear of abstractions. Do not retell in mediocre verse what has already been done in good prose. Don\u2019t think any intelligent person is going to be deceived when you try to shirk all the difficulties of the unspeakably difficult art of good prose by chopping your composition into line lengths.<\/p>\n","protected":false},"excerpt":{"rendered":"

    “In a Station of the Metro” (1913) The apparition of these faces in the crowd; Petals on a wet, black bough.   “A Retrospect” (1918) There has been so much scribbling about a new fashion in poetry, that I may perhaps be pardoned this brief recapitulation and retrospect. In the spring or early summer of … Continue reading “Ezra Pound”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":24,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_total_topic_count_hidden":0,"_bbp_total_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":"","_members_access_role":[],"_members_access_error":""},"class_list":["post-51","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/pages\/51","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/comments?post=51"}],"version-history":[{"count":0,"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/pages\/51\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/pages\/24"}],"wp:attachment":[{"href":"https:\/\/teaching.lfhanley.net\/english528fa17\/wp-json\/wp\/v2\/media?parent=51"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}