Lecture 21 Ezra Pound

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Ezra_Pound

Ezra_Pound

Ezra Pound and Chinese Culture
Pound has been called the "inventor" of Chinese poetry in his time. Beginning in 1913 with the notebooks of the Orientalist Ernest Fenollosa, he pursued a lifelong study of ancient Chinese texts, and translated among others the writings of Confucius. Pound's translations based on Fenollosa's notes, collected in CATHAY (1915), are considered among the most beautiful of his writings. “And round about there is a rabble Of the filthy, study, unkillable infants of the very poor. They shall inherit the earth.” --from 'The Garden' in Cathay
Pound’s Commentary On In A Station
of Metro
“Three years ago in Paris I got out of a "metro" train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman, and I tried all that day to find words for what this had meant to me, and I could not find any words that seemed to me worthy, or as lovely as that sudden emotion. … and I found... not in speech, but in little spotches of colour. … But it was a word, the beginning, for me, of a language in colour...” “That evening, …, I realised quite vividly that if I were a painter, or if I had, often, that kind of emotion, or even if I had the energy to get paints and brushes and keep at it, I might found a new school of painting, of "non-representative" painting, a painting that would speak only by arrangements in colour...”

Lecture 8

Lecture 8

Contribution: It was a rebellion against the traditional poetics which failed to reflect the new life of the new century. It offered a new way of writing which was valid not only for the Imagist poets but for modern poetry as a whole. The movement was a training school in which many great poets learned their first lessons in the poetic art.
In 1908, again went abroad, and helped writers such as James Joyce, T.S. Eliot and Robert Frost; In 1924, he left Paris for Italy. During WWII, he conducted radio broadcasts beamed at the American troops on behalf of the Italian government. After the treason charges were dismissed in 1958. Returned to Italy, where he died in 1972.
Lecture 8
20th-Century American Poets
Imagism Ezra Pound (1885-1972) Robert Frost (1874-1963)

Ezra_Pound

Ezra_Pound

• The most striking feature of the text, to a casual browser, is the inclusion of Chinese characters as well as quotations in European languages other than English. • The range of allusion to historical events is very broad, and abrupt changes occur with little transition. • There is also wide geographical reference。
Ezra Pound
艾兹拉·庞德
Contents
• • • • Life His major works Famous works Influence factors on Pound and his influence on the world
His life
• • • • Born in 1885 in Hailey, Idaho Brought up in Pennsylvania Mastered 9 languages at university Sailed to Europe and composed first poetry in Venice in 1908 • Arrived in London and founded Imagism • Editor of Poetry in 1912 and blue-penciled Eliot’s “The Waste Land”
His Major Works
• • • • • A lume Spento( 1908) 《灯火熄灭之时》 Personea (1909) 《人物》 The Spirit of Romance (1910) 《精神浪漫史》 Cathay (1915) 《神州集》 Homage to Sextus Properties (1919) 《向赛克斯特 斯 · 普罗波蒂斯致敬》 • Hugh Selwyn Mauberley( 1920)《休·赛尔温·毛伯利 》 • Cantos (1917-1969) 《诗章》

Pound,Ezra(1920)HughSelwynMauberley…

Pound,Ezra(1920)HughSelwynMauberley…

Pound, Ezra (1920) Hugh Selwyn MauberleyHugh SelwynMauberleyBYE. P.THE OVID PRESS 1920"VOCAT ÆSTUS IN UMBRAM"Nemesianus Ec. IV.H. S. Mauberley(LIFE AND CONTACTS)Transcriber's note: Ezra Pound’s Hugh Selwyn Mauberley contains accents, diphthongs and Greek characters. Facsimile images of the poems as originally published are freely available online from the Internet Archive. Please use these images to check for any errors or inadequacies in this electronic text.MAUBERLEYCONTENTSPart I.________Ode pour l'élection de son sepulcher II. III. IV. V. Yeux Glauques "Siena mi fe', disfecemi Maremma" Brennbaum Mr. Nixon X. XI. XII.____________ENVOI1919____________Part II. 1920 (Mauberley)I.II.III. "The age demanded"IV.V. MedallionE.P. ODE POUR SELECTION DE SON SEPULCHREFOR three years, out of key with his time,He strove to resuscitate the dead artOf poetry; to maintain "the sublime"In the old sense. Wrong from the start—No hardly, but, seeing he had been bornIn a half savage country, out of date;Bent resolutely on wringing lilies from the acorn;Capaneus; trout for factitious bait;ἴδµενγάρτοιπάνπάνθ', όσ' ένιΤροίηCaught in the unstopped ear;Giving the rocks small lee-wayThe chopped seas held him, therefore, that year.His true Penelope was Flaubert,He fished by obstinate isles;Observed the elegance of Circe's hairRather than the mottoes on sun-dials. Unaffected by "the march of events,"He passed from men's memory in l'an trentiesme De son eage; the case presentsNo adjunct to the Muses' diadem.II.THE age demanded an imageOf its accelerated grimace,Something for the modern stage,Not, at any rate, an Attic grace;Not, not certainly, the obscure reveriesOf the inward gaze;Better mendacitiesThan the classics in paraphrase!The "age demanded" chiefly a mould in plaster, Made with no loss of time,A prose kinema, not, not assuredly, alabasterOr the "sculpture" of rhyme.III.THE tea-rose tea-gown, etc.Supplants the mousseline of Cos,The pianola "replaces"Sappho's barbitos.Christ follows Dionysus,Phallic and ambrosialMade way for macerations;Caliban casts out Ariel.All things are a flowing,Sage Heracleitus says;But a tawdry cheapnessShall reign throughout our days.Even the Christian beautyDefects—after Samothrace;We see τοκαλόνDecreed in the market place.Faun's flesh is not to us,Nor the saint's vision.We have the press for wafer;Franchise for circumcision.All men, in law, are equals.Free of Peisistratus,We choose a knave or an eunuchTo rule over us.O bright Apollo,τίν' άνδρα, τίν' ήρωα, τίναθεον,What god, man, or heroShall I place a tin wreath upon!IV.THESE fought, in any case, and some believing, pro domo, in any case . . Some quick to arm, some for adventure, some from fear of weakness, some from fear of censure, some for love of slaughter, in imagination, learning later . . .some in fear, learning love of slaughter; Died some "pro patria, non dulce non et decor". .walked eye-deep in hell believing in old men's lies, then unbelieving came home, home to a lie, home to many deceits, home to old lies and new infamy;usury age-old and age-thick and liars in public places.Daring as never before, wastage as never before.Young blood and high blood,Fair cheeks, and fine bodies;fortitude as never beforefrankness as never before, disillusions as never told in the old days, hysterias, trench confessions, laughter out of dead bellies.V.THERE died a myriad,And of the best, among them,For an old bitch gone in the teeth,For a botched civilization,Charm, smiling at the good mouth,Quick eyes gone under earth's lid,For two gross of broken statues,For a few thousand battered books.YEUX GLAUQUESGLADSTONE was still respected,When John Ruskin produced"Kings Treasuries"; SwinburneAnd Rossetti still abused.Fœtid Buchanan lifted up his voiceWhen that faun's head of hersBecame a pastime forPainters and adulterers.The Burne-Jones cartonsHave preserved her eyes;Still, at the Tate, they teachCophetua to rhapsodize;Thin like brook-water,With a vacant gaze.The English Rubaiyat was still-bornIn those days.The thin, clear gaze, the sameStill darts out faun-like from the half-ruin'd fac Questing and passive …."Ah, poor Jenny's case"…Bewildered that a worldShows no surpriseAt her last maquero'sAdulteries."SIENA MI FE', DISFECEMI MAREMMA" AMONG the pickled foetuses and bottled bones, Engaged in perfecting the catalogue,I found the last scion of theSenatorial families of Strasbourg, Monsieur Verog. For two hours he talked of Gallifet;Of Dowson; of the Rhymers' Club;Told me how Johnson (Lionel) diedBy falling from a high stool in a pub . . .But showed no trace of alcoholAt the autopsy, privately performed—Tissue preserved—the pure mindArose toward Newman as the whiskey warmed.Dowson found harlots cheaper than hotels;Headlam for uplift; Image impartially imbuedWith raptures for Bacchus, Terpsichore and the Church. So spoke the author of "The Dorian Mood",M. Verog, out of step with the decade,Detached from his contemporaries,Neglected by the young,Because of these reveries.BRENNBAUM.THE sky-like limpid eyes,The circular infant's face,The stiffness from spats to collarNever relaxing into grace;The heavy memories of Horeb, Sinai and the forty years, Showed only when the daylight fellLevel across the faceOf Brennbaum "The Impeccable".MR. NIXONIN the cream gilded cabin of his steam yachtMr. Nixon advised me kindly, to advance with fewer Dangers of delay. "Consider"Carefully the reviewer."I was as poor as you are;"When I began I got, of course,"Advance on royalties, fifty at first", said Mr. Nixon, "Follow me, and take a column,"Even if you have to work free."Butter reviewers. From fifty to three hundred"I rose in eighteen months;"The hardest nut I had to crack"Was Dr. Dundas."I never mentioned a man but with the view"Of selling my own works."The tip's a good one, as for literature"It gives no man a sinecure."And no one knows, at sight a masterpiece.And give up verse, my boy,There's nothing in it.* * *Likewise a friend of Bloughram's once advised me:Don't kick against the pricks,Accept opinion. The "Nineties" tried your game And died, there's nothing in it.X.BENEATH the sagging roofThe stylist has taken shelter,Unpaid, uncelebrated,At last from the world's welterNature receives him,With a placid and uneducated mistressHe exercises his talentsAnd the soil meets his distress.The haven from sophistications and contentions Leaks through its thatch;He offers succulent cooking;The door has a creaking latch.XI."CONSERVATRIX of Milésien"Habits of mind and feeling,Possibly. But in EalingWith the most bank-clerkly of Englishmen? No, "Milésien" is an exaggeration.No instinct has survived in herOlder than those her grandmotherTold her would fit her station.XII."DAPHNE with her thighs in barkStretches toward me her leafy hands",— Subjectively. In the stuffed-satin drawing-room I await The Lady Valentine's commands, Knowing my coat has never beenOf precisely the fashionTo stimulate, in her,A durable passion;Doubtful, somewhat, of the valueOf well-gowned approbationOf literary effort,But never of The Lady Valentine's vocation: Poetry, her border of ideas,The edge, uncertain, but a means of blending With other strataWhere the lower and higher have ending;A hook to catch the Lady Jane's attention,A modulation toward the theatre,Also, in the case of revolution,A possible friend and comforter.* * *Conduct, on the other hand, the soul"Which the highest cultures have nourished"To Fleet St. whereDr. Johnson flourished;Beside this thoroughfareThe sale of half-hose hasLong since superseded the cultivationOf Pierian roses.ENVOI (1919)GO, dumb-born book,Tell her that sang me once that song of Lawes; Hadst thou but songAs thou hast subjects known,Then were there cause in thee that should condone Even my faults that heavy upon me lieAnd build her glories their longevity.Tell her that shedsSuch treasure in the air,Recking naught else but that her graces giveLife to the moment,I would bid them liveAs roses might, in magic amber laid,Red overwrought with orange and all madeOne substance and one colourBraving time.Tell her that goesWith song upon her lipsBut sings not out the song, nor knowsThe maker of it, some other mouth,May be as fair as hers,Might, in new ages, gain her worshippers,When our two dusts with Waller's shall be laid, Siftings on siftings in oblivion,Till change hath broken downAll things save Beauty alone.1920(MAUBERLEY)I.TURNED from the "eau-fortePar Jaquemart"To the strait headOf Mcssalina:"His true PenelopeWas Flaubert",And his toolThe engraver'sFirmness,Not the full smile,His art, but an artIn profile;ColourlessPier Francesca,Pisanello lacking the skillTo forge Achaia.II."Qu'est ce qu'ils savent de l'amour, et gu'est ce qu'ils peuvent comprendre? S'ils ne comprennent pas la poèsie, s'ils ne sentent pas la musique, qu'est ce qu'ils peuvent comprendre de cette pas- sion en comparaison avec laquelle la rose est grossière et le parfum des violettes un tonnerre?" CAID ALIFOR three years, diabolus in the scale,He drank ambrosia,All passes, ANANGKE prevails,Came end, at last, to that Arcadia.He had moved amid her phantasmagoria,Amid her galaxies,NUKTIS AGALMADrifted….drifted precipitate,Asking time to be rid of….Of his bewilderment; to designateHis new found orchid….To be certain….certain…(Amid aerial flowers)..time for arrangements—Drifted onTo the final estrangement;Unable in the supervening blanknessTo sift TO AGATHON from the chaffUntil he found his seive…Ultimately, his seismograph:—Given, that is, his urgeTo convey the relationOf eye-lid and cheek-boneBy verbal manifestation;To present the seriesOf curious heads in medallion—He had passed, inconscient, full gaze,The wide-banded irisesAnd botticellian sprays impliedIn their diastasis;Which anæsthesis, noted a year late,And weighed, revealed his great affect, (Orchid), mandateOf Eros, a retrospect.. . .Mouths biting empty air,The still stone dogs,Caught in metamorphosis were,Left him as epilogues."THE AGE DEMANDED"VIDE POEM II.FOR this agility chance foundHim of all men, unfitAs the red-beaked steeds ofThe Cytheræan for a chain-bit.The glow of porcelainBrought no reforming senseTo his perceptionOf the social inconsequence.Thus, if her colourCame against his gaze,Tempered as ifIt were through a perfect glazeHe made no immediate applicationOf this to relation of the stateTo the individual, the month was more temperate Because this beauty had been……The coral isle, the lion-coloured sandBurst in upon the porcelain revery:Impetuous troublingOf his imagery.……Mildness, amid the neo-Neitzschean clatter,His sense of graduations,Quite out of place amidResistance to current exacerbationsInvitation, mere invitation to perceptivity Gradually led him to the isolationWhich these presents placeUnder a more tolerant, perhaps, examination.By constant eliminationThe manifest universeYielded an armourAgainst utter consternation,A Minoan undulation,Seen, we admit, amid ambrosial circumstances Strengthened him againstThe discouraging doctrine of chancesAnd his desire for survival,Faint in the most strenuous moods,Became an Olympian apatheinIn the presence of selected perceptions.A pale gold, in the aforesaid pattern,The unexpected palmsDestroying, certainly, the artist's urge,Left him delighted with the imaginaryAudition of the phantasmal sea-surge,Incapable of the least utterance or composition, Emendation, conservation of the "better tradition", Refinement of medium, elimination of superfluities, August attraction or concentration.Nothing in brief, but maudlin confession Irresponse to human aggression,Amid the precipitation, down-floatOf insubstantial mannaLifting the faint susurrusOf his subjective hosannah.Ultimate affronts to human redundancies;Non-esteem of self-styled "his betters" Leading, as he well knew,To his finalExclusion from the world of letters. IV.SCATTERED MoluccasNot knowing, day to day,The first day's end, in the next noon; The placid waterUnbroken by the Simoon;Thick foliagePlacid beneath warm suns,Tawn fore-shoresWashed in the cobalt of oblivions;Or through dawn-mistThe grey and roseOf the juridicalFlamingoes;A consciousness disjunct,Being but this overblottedSeriesOf intermittences;Coracle of Pacific voyages,The unforecasted beach:Then on an oarRead this:"I wasAnd I no more exist;Here driftedAn hedonist."MEDALLIONLUINI in porcelain!The grand pianoUtters a profaneProtest with her clear soprano.The sleek head emergesFrom the gold-yellow frockAs Anadyomene in the opening Pages of Reinach.Honey-red, closing the face-ovalA basket-work of braids which seem as if they wereSpun in King Minos' hallFrom metal, or intractable amber;The face-oval beneath the glaze,Bright in its suave bounding-line, asBeneath half-watt raysThe eyes turn topaz.THIS EDITION OF 200 COPIES IS THE THIRD BOOK OF THE OVID PRESS: WAS PRINTED BY JOHN RODKER: AND COMPLETED APRIL 23RD. 1920OF THIS EDITION:—15 Copies on Japan Vellum numbered 1-15 & not for sale. 20 Signed copies numbered 16-35 165 Unsigned copies numbered 36-200The initials & colophon by E. Wadsworth.The · OVID · PRESS43 BELSIZE PARK GARDENSLONDON N.W.3End of the Project Gutenberg EBook of Hugh Selwyn Mauberley, by Ezra Pound*** END OF THIS PROJECT GUTENBERG EBOOK HUGH SELWYN MAUBERLEY ***。

20th-Century American Poets Ezra Pound

20th-Century American Poets Ezra Pound

• Chinese poetry and philosophy have exerted great influence over ____. A A. Ezra Pound B. Ralph Waldo Emerson C. Robert Frost D. Emily Dickinson
• “The apparition of these faces in the crowd; Petals on a wet, black bough.” This is the C shortest poem written by _____. A. T. S. Eliot B. Robert Frost C. Ezra Pound D. Emily Dickinson
Three Imagist Poetic Principles 1. Direct treatment of the „thing‟ whether subject or objective. Rejection of Tennyson‟s moral tone in poetry. 2. To use absolutely no word that does not contribute to the presentation. 3. As regarding rhythm: to compose in the sequence of musical phrase, not in sequence of a metronome. Get rid of the traditional rhyme---pentameter五音步, and write in a free verse.
1. Why does the poet call the faces of pedestrians “apparition”?

Ezra Pound庞德翻译理论与汉诗翻译完整版资料

Ezra Pound庞德翻译理论与汉诗翻译完整版资料
• 1928 Ta hio, the great learning, newly rendered into the American language, translation
• 1930 A Draft of XXX Cantos, poems (New York)
• 1930 Imaginary Letters, essays
• 在诗歌理论上,庞德曾提出有关意象诗及“漩涡主 义”的观念,打破传统诗歌严密结构,促成英美现代诗歌 形式历史性的突破与发展,并且在开阔视野、搜胜猎奇、 吸收东方及古代文化方面有较大进步。庞德也是宣扬中国
文明、翻译介绍中国古诗的西方诗人之一。
庞德的翻译
庞德的第一个译本是翻译意大利13 世纪诗人卡瓦尔坎蒂(Guido
• 庞德从汉语文学的描写性特征中,看到了一种语言与意象的魔力,从 而产生对汉诗和汉字的魔力崇拜,长诗《诗章》中多处夹着汉字,以 示某种神秘意蕴,主张寻找出汉语中的意象,提出英文诗创作中也应 该力图将全诗浸润在意象之中。
贡献价值
• 1948年诺贝尔奖得主,大诗人T·S·艾略特的著名长诗《荒 原》的副题就是:“献给埃兹拉·庞德,最卓越的匠人”,该 诗曾得利于庞德的亲自修改。作为欧美现代主义文学公认 的鼻祖之一,庞德在艺术创作及批评理论方面都有较大影 响。
等。
Works
• 1908 A Lume Spento, poems (Venice) • 1908 A Quinzaine for This Yule, poems (London) • 1909 Personae, poems (London) • 1909 Exultations, poems (London • 1910 Provenca, poems (Boston) • 1910 The Spirit of Romance, essays (London) • 1911 Canzoni, poems (London) • 1912 Ripostes, poems (London) • 1912The Sonnets and ballate of Guido Cavalcanti, translations,

Ezra-Pound知识讲解

Ezra-Pound知识讲解

Thought transformation 思想转变
第二次世界大战时,庞德在罗马电台发表了数百 次广播讲话,抨击美国的战争行动,攻击罗斯福的作 战政策,赞扬墨索里尼,鼓吹墨索里尼的治国政策能 促成一个没有贪婪和高利贷的社会。
During World War II, the Roman Pound radio broadcast speech delivered hundreds of times, criticized the U.S. war effort, attacking Roosevelt's war policy, praised Mussolini, Mussolini's rule advocated policies can contribute to a no-greed and usury society.
The creation background 创作背景
❖ 我写了一首三十行的诗,然后销毁了,6 个月以后,我写了一首比那首短一半的诗, 一年后我写了日本和歌式的诗句。”
❖ 可以确定,这首短诗是庞德在法国的地铁 站触景而作,通过意象的叠加,诗歌最终大 大方方地落笔成简洁的14字。
Ezra Pound was America famous imagist poet. He and Eliot in the same post symbolist poetry leader. He Chinese from classical poetry, Japanese haiku of Health issued "poetry" theory, and made outstanding contributions to each other Eastern and Western poetry.

上课Ezra-Pound剖析

上课Ezra-Pound剖析

the University of Pennsylvania

Hamilton College
• Ezra married the artist Dorothy Shakespear in 1914.
The life of Pound
• In 1920, he moves to Paris, then settled in Italy in 1924.
The three principles followed by the Imagists:
(1) "Direct treatment" (2) "Economy of expression" (3) “Free verse"
The life of Pound
• born in Hailey, Idaho
• During the second World War ,he leaned in the direction of Mussolini’s fascist totalitarianism极权主义
• having made anti-American radio broadcasts, he was arrested as a traitor in 1945 .
⑵Hugh Selwyn Mauberley 《休赛尔温 毛伯利》 ~his disillusionment and his view of his own career
⑶Cantos 《诗章》 the intellectual diary since 1915
~encyclopedic epic poem (学识渊博的史诗性诗歌)
• During this time he translated works of ancient Greek and ancient Chinese literature .
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③ The poem is an observation of the poet of the human faces seen in a Paris subway station. It looks to be a modern adoption of the Japanese haiku. ④ He tries to render exactly his observation of human faces seen in an underground railway station. He sees the faces, turned variously toward light and darkness, like flower petals which are half absorbed by, half resisting, the wet, dark texture of a bough. ⑤ Repeating it, you can have a colorful picture, also you can feel the beauty of music through it’s repetition of different vowels and consonants, such as /p/ and /au/. Especially the repetition of /e/ in the second line emphasize it’s sense of music.
His masterpiece: The Cantos
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2. 3. 4.
5.
6. 7.
intellectual diary since 1915 no single clue divided into many sections and each contributes to a different theme showing author’s point of views on many aspects, such as politics, economy, arts, culture etc In this poem, he traces the rise and fall of eastern and western empires, the destruction caused by greed and materialism. e deplores the corruption of America after the heroic time of Jefferson, The last part, produced from his own suffering, is the most moving.
Literary movement
Modernism Imagism Vorticism
I. His Life
1) Born in Idaho in 1885 and raised in Pennsylvania, Ezra Pound spent most of his life in Europe and became one of the 20th century's most influential -- and controversial -- poets in the English language. Pound was undoubtedly a genius. Before he graduated from university, he had mastered 9 languages as well as English grammar and literature. After college in Pennsylvania and a brief stint as a teacher, in 1908 Pound traveled to Venice and then to London, where he refined his aesthetic sensibilities and edited the anthology Des Imagists (1914). Pound championed the likes of T. S. Eliot, William Carlos Williams and James Joyce and, influenced by Chinese and Japanese poetry, advocated free meter and a more economical use of words and images in poetic expression, leading the Imagist Movement of poetry.
His poetic features
• (1) He was influenced by Greek, Italy and Chinese poets. • (2) He wrote some fresh short poems and also some all-inclusive long poems. • (3) Personal tone; open and spontaneous style • (4) Difficult to read and study; great influence on modern poetry
VI. Chinese Connection with Imagism
A Chinese imagistic poetry: Autumn Evening crows perch on old trees wreathed with withered vine, Water of a stream flows by a family cottage near a tiny bridge. A lean horse walks on an ancient road in western breeze, The sun is setting in the west, The heart-broken one is at the end of the Earth. 《天净沙· 秋思》 马致远 枯藤、老树、昏鸦,小桥、流水、人家, 古道、西风、瘦马,夕阳西下,断肠人在天涯。
Lecture 21 Ezra Pound
Born
October 30, 1885) Hailey, Idaho Territory, United States November 1, 1972 (aged 87) Venice, Italy Poet, critic
Died Occupation
III. Appreciation of In a Station of the Metro ① The “Metro” is the underground railway of Paris. ② The word “apparition”, with its double meaning, binds the two aspects of the observation together: Apparition meaning “appearance”, in the sense of something which appears, or shows up; something which can be clearly observed. Apparition meaning something which seems real but perhaps is not real; something ghostly which cannot be clearly observed.
II. His works
• Famous poems: “In a Station of the Metro”; “A Pact” • Collections: • “Homage to Sextus Propertius” (modern translation of Old Roman poems) • “Hugh Selwyn Mauberley” (condemned the commercialization and depravity of arts and showed his own point of views on poetry and art) • “Cantos”
⑥ In this brief poem, Pound uses the fewest possible words to convey an accurate image, according to the principles of the “Imagists”. Pound wrote an account of its composition, which claims that the poem’s form was determined by the experience that inspired it, evolving organically rather than being chosen arbitrarily. ⑦ Whether truth or myth, the piece has become a famous document in the history of Imagism.
2)
3)
4) He moved to Paris in 1920 and got acquainted with Gertrude Stein and her circle of friends (which included Ernest Hemingway and Pablo Picasso), then settled in Italy in 1924. 5) Enamored with Benito Mussolini, Pound made antiAmerican radio broadcasts during World War II. He was arrested as a traitor in 1945 and initially confined in Pisa. He was then sent to the U.S., where he was deemed mentally unfit to stand trial for treason. 6) Pound was confined for 12 years in a hospital (actually prison) for the criminally insane in Washington. During this time he translated works of ancient Greek and ancient Chinese literature. While in prison, he was awarded a prestigious poetry prize in 1949 for his last Cantos. 7) In 1958 he returned to Italy, where he continued to write and make translations until he died in 1972.
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