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Pound photographed in 1913 by Alvin Langdon Coburn. Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an American poet and critic, a major figure in the early modernist poetry movement, and a collaborator in Fascist Italy and the Salò Republic during World War II.
But, while this may represent the origin of the term's usage in modern English, the word "logopoeia" itself was not coined by Pound; it already existed in classical Greek. [ 3 ] Logopoeia is the most recent kind of poetry and does not translate well, according to Pound [ citation needed ] , though he also claimed it was abundant in the poetry ...
Opening page of the first American edition, published 1933. The Cantos is a long modernist poem by Ezra Pound, written in 109 canonical sections in addition to a number of drafts and fragments added as a supplement at the request of the poem's American publisher, James Laughlin.
This is a list of persons, places, events, etc. that feature in Ezra Pound's The Cantos, a long, incomplete poem in 120 sections, each of which is a canto.It is a book-length work written between 1915 and 1962, widely considered to present formidable difficulties to the reader.
In a Station of the Metro" is an Imagist poem by Ezra Pound published in April 1913 [1] in the literary magazine Poetry. [2] In the poem, Pound describes a moment in the underground metro station in Paris in 1912; he suggested that the faces of the individuals in the metro were best put into a poem not with a description but with an "equation".
A Lume Spento consists of 45 poems. [9]A Lume Spento is replete with allusions to works which had influenced Pound, including Provençal and late Victorian literatures. Pound adopts Robert Browning's technique of dramatic monologues, and as such he "appears to speak in the voices of historical or legendary figures". [5]
Media in category "Ezra Pound" The following 4 files are in this category, out of 4 total. 48 Langham Street, London W1.jpg 798 × 1,200; 559 KB.
Hugh Selwyn Mauberley addresses Pound's alleged failure as a poet. F. R. Leavis considered it "quintessential autobiography." [2]Speaking of himself in the third person, Pound criticises his earlier works as attempts to "wring lilies from the acorn", that is to pursue aesthetic goals and art for art's sake in a rough setting, America, which he calls "a half-savage country".