Project Gutenberg's Ezra Pound: His Metric and Poetry, by T.S. Eliot #5 in our series by T.S. Eliot o!

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Produced by 7ndrea %all, )a$id Starner, "arles /ran&s, 8uliet Sut"erland, and t"e @nline )istributed Proo'reading Tea(

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%@@CS %, ED27 P@AB) P2@0EB 7, being !oe(s selected 'ro( Personae, E1ultations, and anzoniere. ES(all, Maynard, %oston, 343:F THE SP+2+T @/ 2@M7B E: 7n atte(!t to de'ine so(e#"at t"e c"ar( o' t"e !reGrenaissance literature o' ?atinGEuro!e. E)ent, ?ondon, 343:H and )utton, Be# ,or&F THE S@BBETS 7B) %7??7TE @/ GA+)@ 707? 7BT+. ES(all, Maynard, %oston, 3439F 2+P@STES. ES#i't, ?ondon, 3439H and Mat"e#s, ?ondon, 343>F )ES +M7G+STES: 7n ant"ology o' t"e +(agists, Ezra Pound, 7ldington, 7(y ?o#ell, /ord Maddo1 Hue''er, and ot"ers G7A)+E2G%2DESC7: 7 (e(oir. E8o"n ?ane, ?ondon and Be# ,or&, 343=F B@H: 7 study o' t"e lassical Stage o' 8a!an #it" Ernest /enollosa. E7l'red 7. Cno!', Be# ,or&, 3435H and Mac(illan, ?ondon, 3435F ?AST27 #it" Earlier Poe(s. E7l'red 7. Cno!', Be# ,or&, 3435F P707BBES 7H) )+0+S+@BS. EProse. +n !re!aration: 7l'red 7. Cno!', Be# ,or&F

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+ *7ll tal& on (odern !oetry, by !eo!le #"o &no#,* #rote Mr. arl Sandburg in IPoetryI, *ends #it" dragging in Ezra Pound so(e#"ere. He (ay be na(ed only to be cursed as #anton and (oc&er, !oseur, tri'ler and $agrant. @r "e (ay be classed as 'illing a nic"e today li&e t"at o' Ceats in a !receding e!oc". T"e !oint is, "e #ill be (entioned.* T"is is a si(!le state(ent o' 'act. %ut t"oug" Mr. Pound is #ell &no#n, e$en "a$ing been t"e $icti( o' inter$ie#s 'or Sunday !a!ers, it does not 'ollo# t"at "is #or& is t"oroug"ly &no#n. T"ere are t#enty !eo!le #"o "a$e t"eir o!inion o' "i( 'or e$ery one #"o "as read "is #ritings #it" any care. @' t"ose t#enty, t"ere #ill be so(e #"o are s"oc&ed, so(e #"o are ru''led, so(e #"o are irritated, and one or t#o #"ose sense o' dignity is outraged. T"e t#entyG'irst critic #ill !robably be one #"o &no#s and ad(ires so(e o' t"e !oe(s, but #"o eit"er says: *Pound is !ri(arily a sc"olar, a translator,* or *Pound's early $erse #as beauti'ulH "is later #or& s"o#s not"ing better t"an t"e itc" 'or ad$ertise(ent, a (isc"ie$ous desire to be annoying, or a c"ildis" desire to be original.* T"ere is a t"ird ty!e o' reader, rare enoug", #"o "as !ercei$ed Mr. Pound 'or so(e years, #"o "as 'ollo#ed "is career intelligently, and #"o recognizes its consistency. T"is essay is not #ritten 'or t"e 'irst t#enty critics o' literature, nor 'or t"at rare t#entyGsecond #"o "as just been (entioned, but 'or t"e ad(irer o' a !oe( "ere or t"ere, #"ose a!!reciation is ca!able o' yielding "i( a larger return. +' t"e reader is already at t"e stage #"ere "e can (aintain at once t"e t#o !ro!ositions, *Pound is (erely a sc"olar* and *Pound is (erely a yello# journalist,* or t"e ot"er t#o !ro!ositions, *Pound is (erely a tec"nician* and *Pound is (erely a !ro!"et o' c"aos,* t"en t"ere is $ery little "o!e. %ut t"ere are readers o' !oetry #"o "a$e not yet reac"ed t"is "y!ertro!"y o' t"e logical 'acultyH t"eir attention (ig"t be arrested, not by an outburst o' !raise, but by a si(!le state(ent. T"e !resent essay ai(s (erely at suc" a state(ent. +t is not intended to be eit"er a biogra!"ical or a critical study. +t #ill not dilate u!on *beauties*H it is a su((ary account o' ten years' #or& in !oetry. T"e citations 'ro( re$ie#s #ill !er"a!s sti(ulate t"e reader to 'or( "is o#n o!inion. .e do not #is" to 'or( it 'or

"i(. Bor s"all #e enter into ot"er !"ases o' Mr. Pound's acti$ity during t"is ten yearsH "is #ritings and $ie#s on art and (usicH t"oug" t"ese #ould ta&e an i(!ortant !lace in any co(!re"ensi$e biogra!"y.

++ Pound's 'irst boo& #as !ublis"ed in 0enice. 0enice #as a "alting !oint a'ter "e "ad le't 7(erica and be'ore "e "ad settled in England, and "ere, in 34:J, *7 ?u(e S!ento* a!!eared. T"e $olu(e is no# a rarity o' literatureH it #as !ublis"ed by t"e aut"or and (ade at a 0enetian !ress #"ere t"e aut"or #as able !ersonally to su!er$ise t"e !rintingH on !a!er #"ic" #as a re(ainder o' a su!!ly #"ic" "ad been used 'or a History o' t"e "urc". Pound le't 0enice in t"e sa(e year, and too& *7 ?u(e S!ento* #it" "i( to ?ondon. +t #as not to be e1!ected t"at a 'irst boo& o' $erse, !ublis"ed by an un&no#n 7(erican in 0enice, s"ould attract (uc" attention. T"e *E$ening Standard* "as t"e distinction o' "a$ing noticed t"e $olu(e, in a re$ie# su((ing it u! as: #ild and "aunting stu'', absolutely !oetic, original, i(aginati$e, !assionate, and s!iritual. T"ose #"o do not consider it crazy (ay #ell consider it ins!ired. o(ing a'ter t"e trite and decorous $erse o' (ost o' our decorous !oets, t"is !oet see(s li&e a (instrel o' Pro$ence at a suburban (usical e$ening.... T"e unseizable (agic o' !oetry is in t"e Kueer !a!er $olu(e, and #ords are no good in describing it. 7s t"e c"ie' !oe(s in *7 ?u(e S!ento* #ere a'ter#ards incor!orated in *Personae,* t"e boo& de(ands (ention only as a date in t"e aut"or's "istory. *Personae,* t"e 'irst boo& !ublis"ed in ?ondon, 'ollo#ed early in 34:4. /e# !oets "a$e underta&en t"e siege o' ?ondon #it" so little bac&ingH 'e# boo&s o' $erse "a$e e$er o#ed t"eir success so !urely to t"eir o#n (erits. Pound ca(e to ?ondon a co(!lete stranger, #it"out eit"er literary !atronage or 'inancial (eans. He too& *Personae* to Mr. El&in Mat"e#s, #"o "as t"e glory o' "a$ing !ublis"ed ,eats' *.ind 7(ong t"e 2eeds,* and t"e *%oo&s o' t"e 2"y(ers' lub,* in #"ic" (any o' t"e !oets o' t"e '4:s, no# 'a(ous, 'ound a !lace. Mr. Mat"e#s 'irst suggested, as #as natural to an un&no#n aut"or, t"at t"e aut"or s"ould bear !art o' t"e cost o' !rinting. *+ "a$e a s"illing in (y !oc&et, i' t"at is any use to

you,* said t"e latter. *.ell,* said Mr. Mat"e#s, *+ #ant to !ublis" it any#ay.* His acu(en #as justi'ied. T"e boo& #as, it is true, recei$ed #it" o!!osition, but it #as recei$ed. T"ere #ere a 'e# a!!reciati$e critics, notably Mr. Ed#ard T"o(as, t"e !oet E&no#n also as *Ed#ard Easta#ay*H "e "as since been &illed in /ranceF. T"o(as, #riting in t"e *Englis" 2e$ie#* Et"en in its brig"test days under t"e editors"i! o' /ord Mado1 Hue''erF, recognized t"e 'irstG"and intensity o' 'eeling in *Personae*: He "as ... "ardly any o' t"e su!er'icial good Kualities o' (odern $ersi'iers.... He "as not t"e current (elanc"oly or resignation or un#illingness to li$eH nor t"e &ind o' 'eeling 'or nature #"ic" runs to (inute descri!tion and decorati$e (eta!"or. He cannot be use'ully co(!ared #it" any li$ing #ritersH... 'ull o' !ersonality and #it" suc" !o#er to e1!ress it, t"at 'ro( t"e 'irst to t"e last lines o' (ost o' "is !oe(s "e "olds us steadily in "is o#n !ure gra$e, !assionate #orld.... T"e beauty o' it E+n Praise o' ,soltF is t"e beauty o' !assion, sincerity and intensity, not o' beauti'ul #ords and i(ages and suggestions ... t"e t"oug"t do(inates t"e #ords and is greater t"an t"ey are. Here E+dyll 'or GlaucusF t"e e''ect is 'ull o' "u(an !assion and natural (agic, #it"out any o' t"e !"rases #"ic" a reader o' (odern $erse #ould e1!ect in t"e treat(ent o' suc" a subject. Mr. Scott 8a(es, in t"e *)aily Be#s,* s!ea&s in !raise o' "is (etres: 7t 'irst t"e #"ole t"ing (ay see( to be (ere (adness and r"etoric, a $ain e1"ibition o' 'orce and !assion #it"out beauty. %ut, as #e read on, t"ese curious (etres o' "is see( to "a$e a la# and order o' t"eir o#nH t"e brute 'orce o' Mr. Pound's i(agination see(s to i(!art so(e Kuality o' in'ectious beauty to "is #ords. So(eti(es t"ere is a strange beating o' ana!aests #"en "e Kuic&ens to "is subjectH again and again "e une1!ectedly ends a line #it" t"e second "al' o' a re$erberant "e1a(eter: */les" s"rouded, bearing t"e secret.* ... 7nd a 'e# lines later co(es an e1a(!le o' "is 'a$ourite use o' s!ondee, 'ollo#ed by dactyl and s!ondee, #"ic" co(es in strangely and, as #e 'irst read it, #it" t"e a!!earance o' discord, but a'ter#ards see(s to gain a curious and distincti$e $igour:

*Eyes, drea(s, li!s, and t"e nig"t goes.* 7not"er line li&e t"e end o' a "e1a(eter is *%ut i' e'er + co(e to (y lo$e's land.* %ut e$en so 'a$ourable a critic !auses to re(ar& t"at He ba''les us by arc"aic #ords and un'a(iliar (etresH "e o'ten see(s to be scorning t"e li(itations o' 'or( and (etre, brea&ing out into any sort o' e1!ression #"ic" suits itsel' to "is (ood. and counsels t"e !oet to *"a$e a little (ore res!ect 'or "is art.* +t is, in 'act, just t"is ada!tability o' (etre to (ood, an ada!tability due to an intensi$e study o' (etre, t"at constitutes an i(!ortant ele(ent in Pound's tec"niKue. /e# readers #ere !re!ared to acce!t or 'ollo# t"e a(ount o' erudition #"ic" entered into *Personae* and its close successor, *E1ultations,* or to de$ote t"e care to reading t"e( #"ic" t"ey de(and. +t is "ere t"at (any "a$e been led astray. Pound is not one o' t"ose !oets #"o (a&e no de(and o' t"e readerH and t"e casual reader o' $erse, disconcerted by t"e di''erence bet#een Pound's !oetry and t"at on #"ic" "is taste "as been trained, attributes "is o#n di''iculties to e1cessi$e sc"olars"i! on t"e !art o' t"e aut"or. *T"is,* "e #ill say o' so(e o' t"e !oe(s in Pro$encal 'or( or on Pro$encal subjects, *is arc"aeologyH it reKuires &no#ledge on t"e !art o' its reader, and true !oetry does not reKuire suc" &no#ledge.* %ut to dis!lay &no#ledge is not t"e sa(e t"ing as to e1!ect it on t"e !art o' t"e readerH and o' t"is sort o' !edantry Pound is Kuite 'ree. He is, it is true, one o' t"e (ost learned o' !oets. +n 7(erica "e "ad ta&en u! t"e study o' 2o(ance ?anguages #it" t"e intention o' teac"ing. 7'ter #or& in S!ain and +taly, a'ter !ursuing t"e Pro$encal $erb 'ro( Milan to /reiburg, "e deserted t"e t"esis on ?o!e de 0ega and t"e P".). and t"e !ro'essorial c"air, and elected to re(ain in Euro!e. Mr. Pound "as s!o&en out "is (ind 'ro( ti(e to ti(e on t"e subject o' sc"olars"i! in 7(erican uni$ersities, its deadness, its isolation 'ro( genuine a!!reciation, and t"e acti$e creati$e li'e o' literature. He "as al#ays been ready to battle against !edantry. 7s 'or "is o#n learning, "e "as studied !oetry care'ully, and "as (ade use o' "is study in "is o#n $erse. *Personae* and *E1ultations* s"o# "is talent 'or turning "is studies to account. He #as su!ersaturated in Pro$enceH "e "ad tra(!ed o$er (ost o' t"e

countryH and t"e li'e o' t"e courts #"ere t"e Troubadours t"ronged #as !art o' "is o#n li'e to "i(. ,et, t"oug" *Personae* and *E1ultations* do e1act so(et"ing 'ro( t"e reader, t"ey do not reKuire a &no#ledge o' Pro$encal or o' S!anis" or +talian. 0ery 'e# !eo!le &no# t"e 7rt"urian legends #ell, or e$en Malory Ei' t"ey did t"ey (ig"t realize t"at t"e +dylls o' t"e Cing are "ardly (ore i(!ortant t"an a !arody, or a * "aucer retold 'or "ildren*FH but no one accuses Tennyson o' needing 'ootnotes, or o' su!erciliousness to#ard t"e uninstructed. T"e di''erence is (erely in #"at !eo!le are !re!ared 'orH (ost readers could no (ore relate t"e (yt" o' 7tys correctly t"an t"ey could gi$e a biogra!"y o' %ertrand de %orn. +t is "ardly too (uc" to say t"at t"ere is no !oe( in t"ese $olu(es o' Mr. Pound #"ic" needs 'uller e1!lanation t"an "e gi$es "i(sel'. ."at t"e !oe(s do reKuire is a trained ear, or at least t"e #illingness to be trained. T"e (etres and t"e use o' language are un'a(iliar. T"ere are certain traces o' (odern in'luence. .e cannot agree #it" Mr. ScottG8a(es t"at a(ong t"ese are *.. E. Henley, Ci!ling, "atterton, and es!ecially .alt ."it(an*GGleast o' all .alt ."it(an. Probably t"ere are only t#o: ,eats and %ro#ning. ,eats in *?a /raisne,* in *Personae,* 'or instance, in t"e attitude and so(e#"at in t"e $ocabulary: + #ra!!ed (y tears in an ellu( lea' 7nd le't t"e( under a stone, 7nd no# (en call (e (ad because + "a$e t"ro#n 7ll 'olly 'ro( (e, !utting it aside To lea$e t"e old barren #ays o' (en ... /or %ro#ning, Mr. Pound "as al#ays !ro'essed strong ad(iration Esee *Mes(eris(* in *Personae*FH t"ere are traces o' "i( in * ino* and */a(a( ?ibrosKue ano,* in t"e sa(e $olu(e. %ut it is (ore !ro'itable to co((ent u!on t"e $ariety o' (etres and t"e original use o' language. Ezra Pound "as been 'at"ered #it" $ers libre in Englis", #it" all its $ices and $irtues. T"e ter( is a loose oneGGany $erse is called *'ree* by !eo!le #"ose ears are not accusto(ed to itGGin t"e second !lace, Pound's use o' t"is (ediu( "as s"o#n t"e te(!erance o' t"e artist, and "is belie' in it as a $e"icle is not t"at o' t"e 'anatic. He "as said "i(sel' t"at #"en one "as t"e !ro!er (aterial 'or a sonnet, one s"ould use t"e sonnet 'or(H but t"at it "a!!ens $ery rarely to any !oet to 'ind "i(sel' in !ossession o' just t"e bloc& o' stu'' #"ic" can !er'ectly be (odelled into t"e sonnet. +t is true t"at u! to

$ery recently it #as i(!ossible to get 'ree $erse !rinted in any !eriodical e1ce!t t"ose in #"ic" Pound "ad in'luenceH and t"at no# it is !ossible to !rint 'ree $erse Esecond, t"ird, or tent"GrateF in al(ost any 7(erican (agazine. ."o is res!onsible 'or t"e bad 'ree $erse is a Kuestion o' no i(!ortance, inas(uc" as its aut"ors #ould "a$e #ritten bad $erse in any 'or(H Pound "as at least t"e rig"t to be judged by t"e success or 'ailure o' "is o#n. Pound's $ers libre is suc" as is only !ossible 'or a !oet #"o "as #or&ed tirelessly #it" rigid 'or(s and di''erent syste(s o' (etric. His * anzoni* are in a #ay aside 'ro( "is direct line o' !rogressH t"ey are (uc" (ore nearly studies in (ediae$al a!!reciation t"an any o' "is ot"er $erseH but t"ey are interesting, a!art 'ro( t"eir (erit, as s"o#ing t"e !oet at #or& #it" t"e (ost intricate Pro$encal 'or(sGGso intricate t"at t"e !attern cannot be e1"ibited #it"out Kuoting an entire !oe(. EM. 8ean de %ossc"ere, #"ose /renc" is translated in t"e *Egoist,* "as already called attention to t"e 'act t"at Pound #as t"e 'irst #riter in Englis" to use 'i$e Pro$encal 'or(s.F Luotation #ill s"o#, "o#e$er, t"e great $ariety o' r"yt"( #"ic" Pound (anages to introduce into t"e ordinary ia(bic !enta(eter: T"y gracious #ays, @ lady o' (y "eart, "a$e @'er all (y t"oug"t t"eir golden gla(our castH 7s a(ber torc"G'la(es, #"ere strange (enGatGar(s Tread so'tly 'neat" t"e da(as& s"ield o' nig"t, 2ise 'ro( t"e 'lo#ing steel in !art re'lected, So on (y (ailed t"oug"t t"at #it" t"ee goet", T"oug" dar& t"e #ay, a golden gla(our 'allet". .it"in t"e ia(bic li(its, t"ere are no t#o lines in t"e #"ole !oe( t"at "a$e an identical r"yt"(. .e turn 'ro( t"is to a !oe( in *E1ultations,* t"e *Big"t ?itany*: @ God, #"at great &indness "a$e #e done in ti(es !ast and 'orgotten it, T"at t"ou gi$est t"is #onder unto us, @ God o' #atersM @ God o' t"e nig"t ."at great sorro# o(et" unto us, T"at t"ou t"us re!ayest us %e'ore t"e ti(e o' its co(ingM

T"ere is e$ident, and (ore strongly in certain later !oe(s, a tendency to#ard Kuantitati$e (easure. Suc" a *'reedo(* as t"is lays so "ea$y a burden u!on e$ery #ord in a line t"at it beco(es i(!ossible to #rite li&e S"elley, lea$ing blan&s 'or t"e adjecti$es, or li&e S#inburne, #"ose adjecti$es are !ractically blan&s. @t"er !oets "a$e (ani!ulated a great $ariety o' (etres and 'or(sH but 'e# "a$e studied t"e 'or(s and (etres #"ic" t"ey use so care'ully as "as Pound. His ballad o' t"e *Goodly /ere* s"o#s great &no#ledge o' t"e ballad 'or(: + "a' seen "i( co# a t"ousand (en @n t"e "ills o' Galilee, T"ey #"ined as "e #al&ed out cal( bet#een .i' "is eyes li&e t"e grey o' t"e sea. ?i&e t"e sea t"at broo&s no $oyaging .it" t"e #inds unleas"ed and 'ree, ?i&e t"e sea t"at "e co#ed at Genseret .i' t#ey #ords s!o&e suddently. 7 (aster o' (en #as t"e Goodly /ere 7 (ate o' t"e #ind and sea, +' t"ey t"in& t"ey "a' slain our Goodly /ere T"ey are 'ools eternally. + "a' seen "i( eat o' t"e "oneyGco(b Sin' t"ey nailed "i( to t"e tree. 7nd 'ro( t"is #e turn to a $ery di''erent 'or( in t"e *7lta'orte,* #"ic" is !er"a!s t"e best sestina t"at "as been #ritten in Englis": )a(n it all6 all t"is our Sout" stin&s !eace. ,ou #"oreson dog, Pa!iols, co(e6 let's to (usic6 + "a$e no li'e sa$e #"en t"e s#ords clas". %ut a"6 #"en + see t"e standards gold, $air, !ur!le, o!!osing, 7nd t"e broad 'ields beneat" t"e( turn cri(son, T"en "o#l + (y "eart nig" (ad #it" rejoicing. +n "ot su((er "a$e + great rejoicing ."en t"e te(!ests &ill t"e eart"'s 'oul !eace, 7nd t"e lig"tnings 'ro( blac& "ea$en 'las" cri(son, 7nd t"e 'ierce t"unders roar (e t"eir (usic 7nd t"e #inds s"rie& t"roug" t"e clouds (ad, o!!osing, 7nd t"roug" all t"e ri$en s&ies God's s#ords clas".

+ "a$e Kuoted t#o $erses to s"o# t"e intricacy o' t"e !attern. T"e Pro$encal canzon, li&e t"e Elizabet"an lyric, #as #ritten 'or (usic. Mr. Pound "as (ore recently insisted, in a series o' articles on t"e #or& o' 7rnold )ol(etsc", in t"e *Egoist,* on t"e i(!ortance o' a study o' (usic 'or t"e !oet. -

Suc" a relation bet#een !oetry and (usic is $ery di''erent 'ro( #"at is called t"e *(usic* o' S"elley or S#inburne, a (usic o'ten nearer to r"etoric Eor t"e art o' t"e oratorF t"an to t"e instru(ent. /or !oetry to a!!roac" t"e condition o' (usic EPound Kuotes a!!ro$ingly t"e dictu( o' PaterF it is not necessary t"at !oetry s"ould be destitute o' (eaning. +nstead o' slig"tly $eiled and resonant abstractions, li&e Ti(e #it" a gi't o' tears, Grie' #it" a glass t"at ranGG o' S#inburne, or t"e (ossiness o' Mallar(e, Pound's $erse is al#ays de'inite and concrete, because "e "as al#ays a de'inite e(otion be"ind it. T"oug" +'$e roa(ed t"roug" (any !laces, Bone t"ere is t"at (y "eart tro#et" /air as t"at #"erein 'air gro#et" @ne #"ose laud "ere interlaces Tune'ul #ords, t"at +'$e essayed. ?et t"is tune be gently !layed ."ic" (y $oice "er#ard u!raises. 7t t"e end o' t"is !oe( t"e aut"or a!!ends t"e note: T"e 'or( and (easure are t"ose o' Piere 0idal's *I7b l'alen tir $as (e l'aireI.* T"e song is 'it only to be sung, and is not to be s!o&en. T"ere are, "ere and t"ere, deliberate arc"ais(s or oddities Ee.g., *"er#ard*FH t"ere are deliberately arbitrary i(ages, "a$ing t"eir !lace in t"e total e''ect o' t"e !oe(: 2ed lea' t"at art blo#n u!#ard and out and o$er T"e green s"ea' o' t"e #orld ... T"e lotos t"at !ours

Her 'ragrance into t"e !ur!le cu! ... %lac& lig"tning ... Ein a (ore recent !oe(F but no #ord is e$er c"osen (erely 'or t"e tin&leH eac" "as al#ays its !art in !roducing an i(!ression #"ic" is !roduced al#ays t"roug" language. .ords are !er"a!s t"e "ardest o' all (aterial o' art: 'or t"ey (ust be used to e1!ress bot" $isual beauty and beauty o' sound, as #ell as co((unicating a gra((atical state(ent. +t #ould be interesting to co(!are Pound's use o' i(ages #it" Mallar(e'sH + t"in& it #ill be 'ound t"at t"e 'or(er's, by t"e contrast, #ill a!!ear al#ays s"ar! in outline, e$en i' arbitrary and not !"otogra!"ic. Suc" i(ages as t"ose Kuoted abo$e are as !recise in t"eir #ay as Sur le Boel, (orte saison, ?orsKue les lou!s $i$ent de $ent ... and t"e rest o' t"at (e(orable Testa(ent. So (uc" 'or t"e i(agery. 7s to t"e *'reedo(* o' "is $erse, Pound "as (ade se$eral state(ents in "is articles on )ol(etsc" #"ic" are to t"e !oint: 7ny #or& o' art is a co(!ound o' 'reedo( and order. +t is !er'ectly ob$ious t"at art "angs bet#een c"aos on t"e one side and (ec"anics on t"e ot"er. 7 !edantic insistence u!on detail tends to dri$e out *(ajor 'or(.* 7 'ir( "old on (ajor 'or( (a&es 'or a 'reedo( o' detail. +n !ainting (en intent on (inutiae gradually lost t"e sense o' 'or( and 'or(G co(bination. 7n atte(!t to restore t"is sense is branded as *re$olution.* +t is re$olution in t"e !"ilological sense o' t"e ter(.... 7rt is a de!arture 'ro( 'i1ed !ositionsH 'elicitous de!arture 'ro( a nor(.... T"e 'reedo( o' Pound's $erse is rat"er a state o' tension due to constant o!!osition bet#een 'ree and strict. T"ere are not, as a (atter o' 'act, t#o &inds o' $erse, t"e strict and t"e 'reeH t"ere is only a (astery #"ic" co(es o' being so #ell trained t"at 'or( is an instinct and can be ada!ted to t"e !articular !ur!ose in "and. -

7'ter *E1ultations* ca(e t"e translation o' t"e *Sonnets and

%allate o' Guido a$alcanti.* +t is #ort" noting t"at t"e #riter o' a long re$ie# in t"e *ILuestI*GGs!ea&ing in !raise o' t"e translation, yet 'ound 'ault #it" t"e aut"or not on t"e ground o' e1cessi$e (ediae$alis(, but because "e is concerned rat"er #it" t"e 'uture t"an #it" a so(e#"at re(ote !ast, so t"at in s!ite o' "is lo$e 'or t"e (ediae$al !oets, "is $ery acco(!lis"(ent as a distinctly (odern !oet (a&es against "is success as a #"olly acce!table translator o' a$alcanti, t"e "eir o' t"e Troubadours, t"e sc"olastic. ,et t"e I)aily Be#sI, in criticising * anzoni,* "ad re(ar&ed t"at Mr. Pound see(s to us rat"er a sc"olar t"an a !oet, and #e s"ould li&e to see "i( gi$ing "is unusual talent (ore to direct translation 'ro( t"e Pro$encal. and Mr. 8. . SKuire Eno# t"e literary editor o' t"e IBe# States(anIF, in an a!!reciati$e re$ie# in t"e IBe# 7geI, "ad counselled t"e !oet t"at "e #ould gain and not lose i' "e could 'orget all about t"e !oets o' )ante's day, t"eir roses and t"eir 'la(es, t"eir gold and t"eir 'alcons, and t"eir literary a(orousness, and #al& out o' t"e library into t"e 'res" air. +n *2i!ostes* t"ere are traces o' a di''erent idio(. Su!er'icially, t"e #or& (ay a!!ear less i(!ortant. T"e diction is (ore restrained, t"e 'lig"ts s"orter, t"e de1terity o' tec"niKue is less arresting. %y ro(antic readers t"e boo& #ould be considered less *!assionate.* %ut t"ere is a (uc" (ore solid substratu( to t"is boo&H t"ere is (ore t"oug"tH greater de!t", i' less agitation on t"e sur'ace. T"e e''ect o' ?ondon is a!!arentH t"e aut"or "as beco(e a critic o' (en, sur$eying t"e( 'ro( a consistent and de$elo!ed !oint o' $ie#H "e is (ore 'or(idable and disconcertingH in s"ort, (uc" (ore (ature. T"at "e abandons not"ing o' "is tec"nical s&ill is e$ident 'ro( t"e translation 'ro( t"e 7ngloGSa1on, t"e *Sea'arer.* +t is not a slig"t ac"ie$e(ent to "a$e broug"t to li'e alliterati$e $erse: !er"a!s t"e *Sea'arer* is t"e only success'ul !iece o' alliterati$e $erse e$er #ritten in (odern Englis"H alliterati$e $erse #"ic" is not (erely a cle$er tour de 'orce, but #"ic" suggests t"e !ossibility o' a ne# de$elo!(ent o' t"is 'or(. Mr. 2ic"ard 7ldington E#"ose o#n acco(!lis"(ents as a #riter o' $ers libre Kuali'y "i( to s!ea&F called t"e !oe( *unsur!assed and unsur!assable,* and a #riter in t"e IBe# 7geI Ea literary organ

#"ic" "as al#ays been strongly o!!osed to (etrical inno$ationsF called it *one o' t"e 'inest literary #or&s o' art !roduced in England during t"e last ten years.* 7nd t"e roug", stern beauty o' t"e 7ngloGSa1on, #e (ay re(ar&, is at t"e o!!osite !ole 'ro( t"at o' t"e Pro$encal and +talian !oets to #"o( Pound "ad !re$iously de$oted "is attention. May + 'or (y o#n sel' song's trut" rec&on, 8ourney's jargon, "o# + in "ars" days Hards"i! endured o't. %ut #e can notice in *2i!ostes* ot"er e$idences t"an o' $ersatility onlyH certain !oe(s s"o# Mr. Pound turning to (ore (odern subjects, as in t"e *Portrait d'une 'e((e,* or t"e (ordant e!igra(, *7n @bject.* Many readers are a!t to con'use t"e (aturing o' !ersonality #it" desiccation o' t"e e(otions. T"ere is no desiccation in *2i!ostes.* T"is s"ould be e$ident to anyone #"o reads care'ully suc" a !oe( as *7 Girl.* .e Kuote it entire #it"out co((ent. T"e tree "as entered (y "ands, T"e sa! "as ascended (y ar(s, T"e tree "as gro#n in (y breastGG )o#n#ard, T"e branc"es gro# out o' (e, li&e ar(s. Tree you are, Moss you are, ,ou are $iolets #it" #ind abo$e t"e(. 7 c"ildGGIsoI "ig"GGyou are, 7nd all t"is is 'olly to t"e #orld. *T"e 2eturn* is an i(!ortant study in $erse #"ic" is really Kuantitati$e. .e Kuote only a 'e# lines: See, t"ey returnH a", see t"e tentati$e Mo$e(ents, and t"e slo# 'eet, T"e trouble in t"e !ace and t"e uncertain .a$ering6 *2i!ostes* belongs to t"e !eriod #"en Mr. Pound #as being attac&ed because o' "is !ro!aganda. He beca(e &no#n as t"e in$entor o' *+(agis(,* and later, as t"e *Hig" Priest o' 0orticis(.* 7s a (atter o' 'act, t"e actual *!ro!aganda* o' Mr. Pound "as been $ery s(all in Kuantity. T"e i(!ression #"ic" "is !ersonality (ade, "o#e$er, is suggested by t"e 'ollo#ing note in *IPunc"I,* #"ic" is al#ays a !retty reliable baro(eter o' t"e

Englis" (iddleGclass Grin: Mr. .el&in Mar& Ee1actly o!!osite ?ong 8ane'sF begs to announce t"at "e "as secured 'or t"e Englis" (ar&et t"e !al!itating #or&s o' t"e ne# Montana EA.S.7.F !oet, Mr. Eze&iel Ton, #"o is t"e (ost re(ar&able t"ing in !oetry since 2obert %ro#ning. Mr. Ton, #"o "as le't 7(erica to reside 'or a #"ile in ?ondon and i(!ress "is !ersonality on Englis" editors, !ublis"ers and readers, is by 'ar t"e ne#est !oet going, #"ate$er ot"er ad$ertise(ents (ay say. He "as succeeded, #"ere all ot"ers "a$e 'ailed, in e$ol$ing a blend o' t"e i(agery o' t"e un'ettered .est, t"e $ocabulary o' .ardour Street, and t"e sinister abandon o' %orgiac +taly. +n 343>, so(eone #riting to t"e Be# ,or& IBationI 'ro( t"e Ani$ersity o' +llinois, illustrates t"e 7(erican, (ore serious, disa!!ro$al. T"is #riter begins by e1!ressing "is objections to t"e *!rinci!le o' /uturis(.* EPound "as !er"a!s done (ore t"an anyone to &ee! /uturis( out o' England. His antagonis( to t"is (o$e(ent #as t"e 'irst #"ic" #as not due (erely to unintelligent disli&e 'or anyt"ing ne#, and #as due to "is !erce!tion t"at /uturis( #as inco(!atible #it" any !rinci!les o' 'or(. +n "is o#n #ords, /uturis( is *accelerated i(!ressionis(.*F T"e #riter in t"e IBationI t"en goes on to analyze t"e (odern *"y!ertro!"y o' ro(anticis(* into T"e e1aggeration o' t"e i(!ortance o' a !ersonal e(otion. T"e abandon(ent o' all standards o' 'or(. T"e su!!ression o' all e$idence t"at a !articular co(!osition is ani(ated by any directing intelligence. 7s 'or t"e 'irst !oint, "ere are Mr. Pound's #ords in ans#er to t"e Kuestion, *do you agree t"at t"e great !oet is ne$er e(otionalM* ,es, absolutelyH i' by e(otion is (eant t"at "e is at t"e (ercy o' e$ery !assing (ood.... T"e only &ind o' e(otion #ort"y o' a !oet is t"e ins!irational e(otion #"ic" energises and strengt"ens, and #"ic" is $ery re(ote 'ro( t"e e$eryday e(otion o' slo!!iness and senti(ent.... 7nd as 'or t"e !lat'or( o' +(agis(, "ere are a 'e# o' Pound's *)on'ts 'or +(agists*: Pay no attention to t"e criticis(s o' (en #"o "a$e ne$er t"e(sel$es #ritten a notable #or&.

Ase no su!er'luous #ord and no adjecti$e #"ic" does not re$eal so(et"ing. Go in 'ear o' abstractions. )on't retail in (ediocre $erse #"at "as already been done in good !rose. )on't i(agine t"at t"e art o' !oetry is any si(!ler t"an t"e art o' (usic or t"at you can !lease t"e e1!ert be'ore you "a$e s!ent at least as (uc" e''ort on t"e art o' $erse as t"e a$erage !iano teac"er s!ends on t"e art o' (usic. %e in'luenced by as (any great artists as you can, but "a$e t"e decency eit"er to ac&no#ledge t"e debt outrig"t or try to conceal it. onsider t"e de'initeness o' )ante's !resentation as co(!ared #it" Milton's. 2ead as (uc" o' .ords#ort" as does not see( to be unutterably dull. +' you #ant t"e gist o' t"e (atter go to Sa!!"o, atullus, 0illon #"en "e is in t"e $ein, Gautier #"en "e is not too 'rigid, or i' yon "a$e not t"e tongues see& out t"e leisurely "aucer. Good !rose #ill do you no "ar(. T"ere is good disci!line to be "ad by trying to #rite it. Translation is also good training. T"e e(!"asis "ere is certainly on disci!line and 'or(. T"e "icago ITribuneI recognized t"is as *sound sense,* adding: +' t"is is +(agis( ... #e are 'or establis"ing +(agis( by constitutional a(end(ent and i(!risoning #it"out recourse to in& or !a!er all *literary* ladies or gents #"o brea& any o' t"ese canons. %ut ot"er re$ie#ers #ere less a!!ro$ing. ."ile t"e #riter in t"e IBationI, Kuoted abo$e, dreads t"e anarc"y i(!ending, Mr. .illia( 7rc"er #as terri'ied at t"e !ros!ect o' "ieratic 'or(alisation. Mr. 7rc"er belie$es in t"e si(!le untaug"t (use: Mr. Pound's co((and(ents tend too (uc" to (a&e o' !oetry a learned, sel'Gconscious cra't, to be culti$ated by a guild o' ade!ts, 'ro( #"ose austere laboratories s!ontaneity and si(!licity are e1cluded.... 7 great deal o' t"e best !oetry in t"e #orld "as $ery little tec"nical study be"ind it....

T"ere are scores and "undreds o' !eo!le in England #"o could #rite t"is si(!le (etre Ei.e. o' *7 S"ro!s"ire ?ad*F success'ully. To be "anged 'or a cat and dro#ned 'or a rat is, !er"a!s, su''icient e1cul!ation. Probably Mr. Pound "as #on odiu( not so (uc" by "is t"eories as by "is unstinted !raise o' certain conte(!orary aut"ors #"ose #or& "e "as li&ed. Suc" e1!ressions o' a!!ro$al are usually ta&en as a grie$anceGG(uc" (ore so t"an any !ersonal abuse, #"ic" is co(!arati$ely a co(!li(entGGby t"e #riters #"o esca!e "is (ention. He does not say *7., %., and . are bad !oets or no$elists,* but #"en "e says *T"e #or& o' N., ,., and D. is in suc" and suc" res!ects t"e (ost i(!ortant #or& in $erse Eor !roseF since so and so,* t"en 7., %., and . are aggrie$ed. 7lso, Pound "as 'reKuently e1!ressed disa!!ro$al o' Milton and .ords#ort". 7'ter *2i!ostes,* Mr. Pound's idio( "as ad$anced still 'art"er. +nas(uc" as * at"ay,* t"e $olu(e o' translations 'ro( t"e "inese, a!!eared !rior to *?ustra,* it is so(eti(es t"oug"t t"at "is ne#er idio( is due to t"e "inese in'luence. T"is is al(ost t"e re$erse o' t"e trut". T"e late Ernest /enollosa le't a Kuantity o' (anuscri!ts, including a great nu(ber o' roug" translations Eliterally e1actF 'ro( t"e "inese. 7'ter certain !oe(s subseKuently incor!orated in *?ustra* "ad a!!eared in *Poetry,* Mrs. /enollosa recognized t"at in Pound t"e "inese (anuscri!ts #ould 'ind t"e inter!reter #"o( "er "usband #ould "a$e #is"edH s"e accordingly 'or#arded t"e !a!ers 'or "i( to do as "e li&ed #it". +t is t"us due to Mrs. /enollosa's acu(en t"at #e "a$e * at"ay*H it is not as a conseKuence o' * at"ay* t"at #e "a$e *?ustra.* T"is 'act (ust be borne in (ind. Poe(s a'ter#ard e(bodied in *?ustra* a!!eared in *Poetry,* in 7!ril, 343>, under t"e title o' * onte(!oranea.* T"ey included a(ong ot"ers *Tenzone,* *T"e ondolence,* *T"e Garret,* *Salutation t"e Second,* and *)ance /igure.* T"ere are in'luences, but de$iously. +t is rat"er a gradual de$elo!(ent o' e1!erience into #"ic" literary e1!eriences "a$e entered. T"ese "a$e not broug"t t"e bondage o' te(!orary ent"usias(s, but "a$e liberated t"e !oet 'ro( "is 'or(er restricted s!"ere. T"ere is atullus and Martial, Gautier, ?a'orgue and Tristan orbiere. ."it(an is certainly not an in'luenceH t"ere is not a trace o' "i( any#"ereH ."it(an and Mr. Pound are anti!odean to eac" ot"er. @' * onte(!oranea* t"e

I "icago E$ening PostI discri(inatingly obser$ed: ,our !oe(s in t"e 7!ril IPoetryI are so (oc&ingly, so delicately, so unblus"ingly beauti'ul t"at you see( to "a$e broug"t bac& into t"e #orld a grace #"ic" E!robablyF ne$er e1isted, but #"ic" #e disco$er by an i(aginati$e !rocess in Horace and atullus. +t #as a true insig"t to ally Pound to t"e ?atin, not to t"e Gree& !oets. ertain o' t"e !oe(s in *?ustra* "a$e o''ended ad(irers o' t"e $erse o' t"e *Personae* !eriod. ."en a !oet alters or de$elo!s, (any o' "is ad(irers are sure to dro! o''. 7ny !oet, i' "e is to sur$i$e as a #riter beyond "is t#entyG'i't" year, (ust alterH "e (ust see& ne# literary in'luencesH "e #ill "a$e di''erent e(otions to e1!ress. T"is is disconcerting to t"at !ublic #"ic" li&es a !oet to s!in "is #"ole #or& out o' t"e 'eelings o' "is yout"H #"ic" li&es to be able to o!en a ne# $olu(e o' "is !oe(s #it" t"e assurance t"at t"ey #ill be able to a!!roac" it e1actly as t"ey a!!roac"ed t"e !receding. T"ey do not li&e t"at constant readjust(ent #"ic" t"e 'ollo#ing o' Mr. Pound's #or& de(ands. T"us "as *?ustra* been a disa!!oint(ent to so(eH t"oug" it (ani'ests no 'alling o'' in tec"niKue, and no i(!o$eris"(ent o' 'eeling. So(e o' t"e !oe(s Eincluding se$eral o' t"e * onte(!oranea*F are a (ore direct state(ent o' $ie#s t"an Pound's $erse "ad e$er gi$en be'ore. @' t"ese !oe(s, M. 8ean de %ossc"ere #rites: E$ery#"ere "is !oe(s incite (an to e1ist, to !ro'ess a beco(ing egotis(, #it"out #"ic" t"ere can be no real altruis(. + beseec" you enter your li'e. + beseec" you learn to say *+* ."en + Kuestion you. /or you are no !art, but a #"oleH Bo !ortion, but a being. ... @ne (ust be ca!able o' reacting to sti(uli 'or a (o(ent, as a real, li$e !erson, e$en in 'ace o' as (uc" o' one's o#n !o#ers as are arrayed against oneH... T"e $irile co(!laint, t"e re$olt o' t"e !oet, all #"ic" s"o#s "is e(otion,GGt"at is !oetry. S!ea& against unconscious o!!ression, S!ea& against t"e tyranny o' t"e uni(aginati$e,

S!ea& against bonds. %e against all 'or(s o' o!!ression, Go out and de'y o!inion. T"is is t"e old cry o' t"e !oet, but (ore !recise, as an e1!ression o' 'ran& disgust: Go to t"e adolescent #"o are s(ot"ered in 'a(ily. @, "o# "ideous it is To see t"ree generations o' one "ouse gat"ered toget"er6 +t is li&e an old tree #it"out s"oots, 7nd #it" so(e branc"es rotted and 'alling. Eac" !oe( "olds out t"ese cries o' re$olt or disgust, but t"ey are t"e result o' "is still "o!ing and 'eeling: ?et us ta&e ar(s against t"is sea o' stu!idities. Pound ... "as e1!erience o' t"e 'olly o' t"e P"ilistines #"o read "is $erse. 2eal !ain is born o' t"is stu!id inter!retation, and one does not realize "o# dee! it is unless one can 'eel, t"roug" t"e ejaculations and t"e laug"ter, #"at "as caused t"ese #ounds, #"ic" are (ade dee!er by #"at "e &no#s, and #"at "e "as lost.... T"e tone, #"ic" is at once jocund and &een, is one o' Pound's Kualities. @$id, atullusGG"e does not diso#n t"e(. He only uses t"ese accents 'or "is 'a(iliarsH #it" t"e ot"ers "e is on t"e edge o' !arado1, !a(!"leteering, indeed o' abuse.... T"is is t"e !ro!er a!!roac" to t"e !oe(s at t"e beginning o' *?ustra,* and to t"e s"ort e!igra(s, #"ic" so(e readers 'ind *!ointless,* or certainly *not !oetry.* T"ey s"ould read, t"en, t"e *)ance /igure,* or *Bear Perigord,* and re(e(ber t"at all t"ese !oe(s co(e out o' t"e sa(e (an. T"ine ar(s are as a young sa!ling under t"e bar&H T"y 'ace as a ri$er #it" lig"ts. ."ite as an al(ond are t"y s"ouldersH 7s ne# al(onds stri!!ed 'ro( t"e "us&. @r t"e ending o' *Bear Perigord*: %e#ildering s!ring, and by t"e 7u$ezere Po!!ies and day'sGeyes in t"e green e(ail

2ose o$er usH and #e &ne# all t"at strea(, 7nd our t#o "orses "ad traced out t"e $alleysH Cne# t"e lo# 'looded lands sKuared out #it" !o!lars, +n t"e young days #"en t"e dee! s&y be'riended. 7nd great #ings beat abo$e us in t"e t#ilig"t, 7nd t"e great #"eels in "ea$en %ore us toget"er ... surging ... and a!art ... %elie$ing #e s"ould (eet #it" li!s and "ands ... T"ere s"ut u! in "is castle, Tairiran's, S"e #"o "ad nor ears nor tongue sa$e in "er "ands, Gone, a", goneGGuntouc"ed, unreac"able6 S"e #"o could ne$er li$e sa$e t"roug" one !erson, S"e #"o could ne$er s!ea& sa$e to one !erson, 7nd all t"e rest o' "er a s"i'ting c"ange, 7 bro&en bundle o' (irrors...6 T"en turn at once to *To a /riend .riting on abaret )ancers.* +t is easy to say t"at t"e language o' * at"ay* is due to t"e "inese. +' one loo&s care'ully at E3F Pound's ot"er $erse, E9F ot"er !eo!le's translations 'ro( t"e "inese Ee.g., Giles'sF, it is e$ident t"at t"is is not t"e case. T"e language #as ready 'or t"e "inese !oetry. o(!are, 'or instance, a !assage 'ro( *Pro$incia )eserta*: + "a$e #al&ed into Perigord + "a$e seen t"e torc"G'la(es, "ig"Glea!ing, Painting t"e 'ront o' t"at c"urc",GG 7nd, under t"e dar&, #"irling laug"ter, + "a$e loo&ed bac& o$er t"e strea( and seen t"e "ig" building, Seen t"e long (inarets, t"e #"ite s"a'ts. + "a$e gone in 2ibeyrac, and in Sarlat. + "a$e cli(bed ric&ety stairs, "eard tal& o' roy, .al&ed o$er En %ertran's old layout, Ha$e seen Barbonne, and a"ors and "alus, Ha$e seen E1cideuil, care'ully 'as"ioned. #it" a !assage 'ro( *T"e 2i$er Song*: He goes out to Hori, to loo& at t"e #ingG'la!!ing stor&s, He returns by #ay o' Sei roc&, to "ear t"e ne# nig"tingales, /or t"e gardens at 8oGrun are 'ull o' ne# nig"tingales,

T"eir sound is (i1ed in t"is 'lute, T"eir $oice is in t"e t#el$e !i!es "ere. +t (atters $ery little "o# (uc" is due to 2i"a&u and "o# (uc" to Pound. Mr. /ord Mado1 Hue''er "as obser$ed: *+' t"ese are original $erses, t"en Mr. Pound is t"e greatest !oet o' t"is day.* He goes on to say: T"e !oe(s in * at"ay* are t"ings o' a su!re(e beauty. ."at !oetry s"ould be, t"at t"ey are. 7nd i' a ne# breat" o' i(agery and "andling can do anyt"ing 'or our !oetry, t"at ne# breat" t"ese !oe(s bring.... Poetry consists in so rendering concrete objects t"at t"e e(otions !roduced by t"e objects s"all arise in t"e reader.... ."ere "a$e you better rendered, or (ore !er(anently beauti'ul a rendering o', t"e 'eelings o' one o' t"ose lonely #atc"ers, in t"e out!osts o' !rogress, #"et"er it be @$id in Hyrcania, a 2o(an sentinel u!on t"e great #all o' t"is country, or (erely oursel$es, in t"e lonely recesses o' our (inds, t"an t"e *?a(ent o' t"e /rontier Guard*M... %eauty is a $ery $aluable t"ingH !er"a!s it is t"e (ost $aluable t"ing in li'eH but t"e !o#er to e1!ress e(otion so t"at it s"all co((unicate itsel' intact and e1actly is al(ost (ore $aluable. @' bot" t"ese Kualities Mr. Pound's boo& is $ery 'ull. T"ere'ore, + t"in& #e (ay say t"at t"is is (uc" t"e best #or& "e "as done, 'or, "o#e$er closely "e (ay "a$e 'ollo#ed "is originalsGGand o' t"at (ost o' us "a$e no (eans o' judgingGGt"ere is certainly a good deal o' Mr. Pound in t"is little $olu(e. * at"ay* and *?ustra* #ere 'ollo#ed by t"e translations o' Bo" !lays. T"e Bo" are not so i(!ortant as t"e "inese !oe(s Ecertainly not so i(!ortant 'or Englis"FH t"e attitude is less unusual to usH t"e #or& is not so solid, so 'ir(. * at"ay* #ill, + belie$e, ran& #it" t"e *SeaG/arer* in t"e 'uture a(ong Mr. Pound's original #or&H t"e Bo" #ill ran& a(ong "is translations. +t is rat"er a dessert a'ter * at"ay.* T"ere are, "o#e$er, !assages #"ic", as Pound "as "andled t"e(, are di''erent bot" 'ro( t"e "inese and 'ro( anyt"ing e1istent in Englis". T"ere is, 'or e1a(!le, t"e 'ine s!eec" o' t"e old Cage&iyo, as "e t"in&s o' "is yout"'ul $alour: He t"oug"t, "o# easy t"is &illing. He rus"ed #it" "is

s!ears"a't gri!!ed under "is ar(. He cried out, *+ a( Cage&iyo o' t"e Hei&e.* He rus"ed on to ta&e t"e(. He !ierced t"roug" t"e "el(et $izards o' Miyanoya. Miyanoya 'led t#ice, and againH and Cage&iyo cried: *,ou s"all not esca!e (e6* He lea!ed and #renc"ed o'' "is "el(et. *Eya6* T"e $izard bro&e and re(ained in "is "and, and Miyanoya still 'led a'ar, and a'ar, and "e loo&ed bac& crying in terror, *Ho# terrible, "o# "ea$y your ar(6* 7nd Cage&iyo called at "i(, *Ho# toug" t"e s"a't o' your nec& is6* 7nd t"ey bot" laug"ed out o$er t"e battle, and #ent o'' eac" "is o#n #ay. T"e *Ti(es ?iterary Su!!le(ent* s!o&e o' Mr. Pound's *(astery o' beauti'ul diction* and "is *cunningly r"yt"(ically !rose,* in its re$ie# o' t"e *Bo".* E$en since *?ustra,* Mr. Pound "as (o$ed again. T"is (o$e is to t"e e!ic, o' #"ic" t"ree cantos a!!ear in t"e 7(erican *?ustra* Et"ey "a$e already a!!eared in *Poetry*GGMiss Monroe deser$es great "onour 'or "er courage in !rinting an e!ic !oe( in t"is t#entiet" centuryGGbut t"e $ersion in *?ustra* is re$ised and is i(!ro$ed by re$isionF. .e #ill lea$e it as a test: #"en anyone "as studied Mr. Pound's !oe(s in Ic"ronologicalI order, and "as (astered *?ustra* and * at"ay,* "e is !re!ared 'or t"e antosGG but not till t"en. +' t"e reader t"en 'ails to li&e t"e(, "e "as !robably o(itted so(e ste! in "is !rogress, and "ad better go bac& and retrace t"e journey.

%+%?+@G27PH, @/ %@@CS 7B) P72T+7? %+%?+@G27PH, @/ B@T7%?E 2+T+ 7? 72T+ ?ES %, ED27 P@AB)

P@EMS 7 ?AME SPEBT@ E3:: co!iesF. 7ntonelli, 0enice, 8une, 34:J. 7 LA+BD7+BE /@2 TH+S ,A?E. /irst 3:: !rinted by Polloc&, ?ondon, )ece(ber, 34:J.

Second 3:: !ublis"ed under El&in Mat"e#s' i(!rint, ?ondon, )ece(ber, 34:J. PE2S@B7E. Mat"e#s, ?ondon, S!ring, 34:4. ENA?T7T+@BS. Mat"e#s, ?ondon, 7utu(n, 34:4.

P2@SE THE SP+2+T @/ 2@M7B E. )ent, ?ondon, 343:.

P@EMS P2@0EB 7 Ea selection o' !oe(s 'ro( *Personae* and *E1ultations* #it" ne# !oe(sF. S(all Maynard, %oston, 343:. 7BD@B+. Mat"e#s, ?ondon, 3433. THE S@BBETS 7B) %7??7TE @/ GA+)@ 707? 7BT+ EtranslatedF. S(all Maynard, %oston, 3439. 7 c"ea!er edition o' t"e sa(e, S#i't and o., ?ondon, 3439. T"e bul& o' t"is edition destroyed by 'ire. 2+P@STES. S#i't, ?ondon, 3439. EIBoteI.GGT"is boo& contains t"e 'irst announce(ent o' +(agis(, in t"e 'ore#ord to t"e !oe(s o' T. E. Hul(e.F

@THE2 PA%?+ 7T+@BS *7 /E. )@B'TS %, 7B +M7G+STE,* in *Poetry,* 'or Marc", 343>. * @BTEMP@27B+7* E!oe(sF, in *Poetry,* 7!ril, 343>.

P@EMS

PE2S@B7E, ENA?T7T+@BS, 7BD@B+, 2+P@STES, !ublis"ed in t#o $olu(es. Mat"e#s, ?ondon, 343>. /+2ST @/ THE B@TES @B 87MES 8@, E, *Egoist,* 8anuary, 343O. /+2ST @/ THE 72T+ ?ES @B E2B+BG G7A)+E2G%2DESC7, *Egoist,* /ebruary, 343O.

@THE2 PA%?+ 7T+@BS *)ES +M7G+STES,* !oe(s by se$eral aut"ors selected by Ezra Pound, !ublis"ed as a nu(ber o' *T"e Glebe,* in Be# ,or&. /ebruary, 343O. 7l'red Crey(borg #as at t"is ti(e editor o' *T"e Glebe.* T"e 'irst arrange(ents 'or t"e ant"ology #ere (ade t"roug" t"e &ind o''ices o' 8o"n ournos during t"e #inter o' 3439G3>. T"e Englis" edition o' t"is ant"ology !ublis"ed by T"e Poetry %oo& S"o!. ?ondon, 343O. 72T+ ?E @B .,B)H7M ?E.+S, *Egoist,* 8une 35, 343O. @BT2+%AT+@BS T@ /+2ST BAM%E2 @/ *%last,* 8une 9:, 343O. *0@2T+ +SM,* an article in *T"e /ortnig"tly 2e$ie#,* Se!te(ber, 343O. *G7A)+E2G%2DESC7,* an article in *T"e Be# 7ge,* /ebruary O, 3435. @BT2+%AT+@BS to second nu(ber o' *%last,* 3435.

P@EMS 7TH7,. Mat"e#s, ?ondon, 7!ril, 3435. ETranslations 'ro( t"e "inese 'ro( t"e notes o' Ernest /enollosa.F

@THE2 PA%?+ 7T+@BS THE 7TH@?+ 7BTH@?@G,, edited by Ezra Pound. Mat"e#s, ?ondon, )ece(ber, 3435. G7A)+E2G%2DESC7, a (e(oir. 8o"n ?ane, ?ondon and Be# ,or&, 343=. ?AST27 E!oe(sF !ublic edition, !!. 33=. Mat"e#s, ?ondon, 343=. 9:: co!ies !ri$ately !rinted and nu(bered, !!. 39O. E2T7+B B@%?E P?7,S @/ 87P7B. uala Press, )undru(, +reland, 343=. Translated by Ernest /enollosa and Ezra Pound, #it" an introduction by .illia( %utler ,eats. B@H, or 7cco(!lis"(ent. 7 study o' t"e lassical Stage o' 8a!an, including translations o' 'i'teen !lays, by Ernest /enollosa and Ezra Pound. Mac(illan, ?ondon, 3435. Cno!', Be# ,or&, 3435. P7SS7GES /2@M THE ?ETTE2S @/ 8@HB %AT?E2 ,E7TS, selected by Ezra Pound, #it" brie' editorial note. uala Press, 3435. ?AST27, #it" Earlier Poe(s, Cno!', Be# ,or&, 3435. ET"is collection o' Mr. Pound's !oe(s contains all t"at "e no# t"in&s 'it to re!ublis".F T"ere is also a !ri$atelyG!rinted edition o' 'i'ty co!ies, #it" a re!roduction o' a dra#ing o' Ezra Pound by Henri GaudierG%rzes&a EBe# ,or&, 3435F. P707BBES and )+0+S+@BS EProseF, in !re!aration. Cno!', Be# ,or&.

End o' Project Gutenberg's Ezra Pound: His Metric and Poetry, by T.S. Eliot --- EB) @/ THE P2@8E T GATEB%E2G E%@@C ED27 P@AB): H+S MET2+ 7B) P@ET2, --T"is 'ile s"ould be na(ed 5e!nd3:.t1t or 5e!nd3:.zi! orrected E)+T+@BS o' our e%oo&s get a ne# BAM%E2, 5e!nd33.t1t 0E2S+@BS based on se!arate sources get ne# ?ETTE2, 5e!nd3:a.t1t

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