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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.
The opening of Canto LXXXII marks a return to the camp and its inmates. This is followed by a passage that draws on Pound's London memories and his reading of the Pocket Book of Verse. Pound laments his failure to recognise the Greek qualities of Swinburne's work and celebrates Wilfrid Scawen Blunt, Rudyard Kipling, Ford, Whitman, Yeats and others.
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]
Opened Ground: Poems 1966–1996 is a 1998 poetry collection by Seamus Heaney, published by Faber and Faber. It was published to replace his earlier 1990 collection titled New Selected Poems 1966–1987 , including poems from said collection and later poems published after its release.
Ripostes is the first collection in which Pound moves toward the economy of language and clarity of imagery of the Imagism movement, and was the first time he used the word "Imagiste." Of its 25 poems, "Salve Pontifex" had appeared in A Lume Spento , and eight others had appeared in magazines. [ 2 ]
As part of the critique, Pound offers an emendation to Housman's claim that "the intelligence" of the eighteenth century involved "some repressing and silencing of poetry". [7]: 68 Pound replies that the root cause was the tendency towards abstract statements, which came about in part because eighteenth century authors "hadn't heard about ...
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".
One of the poets Pound "saved", Guido Cavalcanti, would later become a common persona for Pound to adopt in his poetry. [20] The book includes numerous partial translations of Romance poems, described as "merely exegetic". [21] Pound was critical of contemporary translators, whom he viewed as "obfuscating" the poets by treating works as artifacts.