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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.
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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]
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 ...
Ezra Pound admired the "delicate temperament" of these early poems, [2]: 479 while Yeats described "I hear an army charging upon the land" as "a technical and emotional masterpiece". [ 2 ] : 391 In 1909, Joyce wrote to his wife, "When I wrote [ Chamber Music ], I was a lonely boy, walking about by myself at night and thinking that one day a ...
The ideogrammic method was a technique expounded by Ezra Pound which allowed poetry to deal with abstract content through concrete images. The idea was based on Pound's reading of the work of Ernest Fenollosa, especially The Chinese Written Character as a Medium for Poetry, composed by Fenollosa but edited by Pound after the author's death, 1908.
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.