By Ira B. Nadel

Ezra Pound is without doubt one of the such a lot noticeable and influential poets of the 20 th century. he's additionally some of the most advanced, his poetry containing historic and legendary allusions, experiments of shape and magnificence and sometimes debatable political beliefs. but Pound's lifestyles and paintings proceed to fascinate. This advent is designed to assist scholars analyzing Pound for the 1st time. Pound student Ira B. Nadel offers a advisor to the wealthy webs of allusion and stylistic borrowings and recommendations in Pound's writing. He deals a transparent evaluate of Pound's lifestyles, works, contexts and reception background and his multidimensional occupation as a poet, translator, critic, editor, anthologist and impresario, a profession that put him on the center of literary modernism. This precious and obtainable creation explains the massive contribution Pound made to the advance of modernism within the early 20th century.

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Additional resources for The Cambridge Introduction to Ezra Pound (Cambridge Introductions to Literature)

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But equations for the human emotions” (SR 14). He also repeats his desire to define, to know things and feelings exactly, which he would reiterate in the ABC of Reading (1934). Restraint is another quality of his work which he finds in the poetry of Dante and Arnaut Daniel. Provenc¸al poetry becomes Pound’s ideal, not only in terms of its exact imagery and tone but in its use of metrics. It was made to sing, and throughout his writing career melopeia, as he would later term it, and music would be fundamental.

John B. Yeats to his son, W. B. Yeats, 1910 When Ezra Pound arrived in London he was greeted as an American cowboy, a brash outsider offering poetry Punch satirized as blending “the imagery of the unfettered West, the vocabulary of Wardour Street, and the sinister abandon of Borgiac Italy” (in EPM 174). Outspoken, oddly dressed – he would occasionally wear a sombrero for a 1909 lecture series – Pound was, nonetheless, self-assured. His appearance was operatic and poetic at the same time, preferring flowing capes and open-necked shirts, but his speech was “Amerukun,” filled with idioms and neologisms unheard of in London.

They are almost the only antiseptics against the contagious imbecility of mankind” (SL 113; also see SL 87). The strength of even the most modern of painters, Picasso, is because he has largely “chewed through and chewed up a great mass of classicism” which the “lesser cubists” have not (SL 113). ” The classics in their original language will combat the “tawdry cheapness” of the present (EPEW 128, 129). To underscore his point, he drew on satire. In “Cantico del Sole,” included in his essay “The Classics ‘Escape,’” in Instigations (1920), he writes The thought of what America would be like If the Classics had a wide circulation Troubles my sleep.

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