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ABC of Reading [1] is a book by the 20th-century Imagist poet Ezra Pound published in 1934. In it, Pound sets out an approach by which one may come to appreciate and understand literature (focusing primarily on poetry). Despite its title the text can be considered as a guide to writing poetry.
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 ...
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]
Cathay (1915) is a collection of classical Chinese poetry translated into English by modernist poet Ezra Pound based on Ernest Fenollosa's notes that came into Pound's possession in 1913. At first Pound used the notes to translate Noh plays and then to translate Chinese poetry to English, despite a complete lack of knowledge of the Chinese ...
If This Be Treason ... is a 33-page booklet published privately in Italy in early 1948 by Olga Rudge, mistress of the American poet Ezra Pound. [1] [2] Pound, who lived in Italy with his wife from 1924 to 1945, was indicted in absentia for treason in 1943 by the United States District Court for the District of Columbia after he made hundreds of radio broadcasts, pro-Axis and deeply antisemitic ...
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Herbert Read, however, noted that "the Imagist Ezra Pound gave free verse its musical structure to an extent that paradoxically it was no longer free." [42] Unrestrained by traditional boundaries, the poet possesses more license to express and has more control over the development of the poem.