OLABISI ONABANJO UNIVERSITY

P.M.B 2002, AGO IWOYE, OGUN STATE, NIGERIA

Course Code- ENG 466

Course Title- Modern British Poetry

Question- Draft Out And Work on 15 Subtopics Raised From The Poem

Poem- "Hugh Selwyn Mauberley" by Ezra Pound.

Submitted By:

● GEORGE LOVINA ESOSA. EDU/19/20/0660.

Topic - Discuss Ezra Pound's Involvement with Vorticism and Imagism and how it

Influenced the Writing of Hugh Selwyn Mauberley.

Lecturer In Charge - Dr Mrs Ibanga

INTRODUCTION.

Hugh Selwyn Mauberley is a poem written in the 20th century by Ezra Pound. The poem is a

masterpiece because virtually all of Pound’s energy after the poem was directed to the writing of

‘The Cantos’. The poem was first published in a deluxe edition, limited to 200 copies. Hugh

Selwyn Mauberley makes use of quatrains with the rhyme scheme of A-B-A-B following a type

of quatrain used by the French poet; Theophile Gautier (1811- 1872) in his collection of poems -

Emaux et Camees. Hugh Selwyn Mauberley is a long-form, free verse, complicated, scholarly

poem that expresses Ezra Pound’s feelings and thoughts. Ezra Pound narrates the poem from a

third person omniscient perspective and the poem is divided into two parts. Each part of the

poem is split into several sections and stanzas, some corresponding to different people he

describes, some numbered and some titled with quotes in different languages.

The first part of the poem runs from the opening through Envoi (1919) which is Section I - VII in

Pound’s numbering and it concerns the character called E.P. E.P. 's relationship to the real Ezra

Pound has been the subject of much debate. E.P. reflects on his own artistic process while

lamenting how poetry has lost its popularity and importance in society. Ezra Pound called these

two characters or personalities the Alter Egos. He treats them like fictional characters. An Alter

Ego is a version of a person that may have similar or different characteristics in comparison with

the person. Pound used the poetic device of the Alter Ego to explore different aspects of his

feelings toward the arts, society, and humanity as a whole.

There were also other characters in the poem like Mr Nixon, a wealthy London literary agent

who tries to convince E.P. to focus on selling his poetry rather than refining it. The anonymous

stylist represents the true artist who is humble and close. The Lady Valentine represents the
wealthy women who held literary salons or meetings in their homes. King Minos, was a

celebrated ruler of Crete in Greek mythology and considered the son of the chief god of the

ancient Greeks, Zeus, and so on. Ezra Pound wrote Hugh Selwyn Mauberley as a farewell to

London, imploring that the reader may decide to admit this as an exclusively American edition

when he returns home to Paris in 1920.

EZRA POUND AND VORTICISM.

Ezra Pound was not a founding member of the Vorticism movement, but he played a significant

role in its promotion and dissemination. Pound's involvement with Vorticism is primarily linked

to his collaboration with artist and writer Wyndham Lewis. Pound wrote the preface for Lewis's

"Blast," the literary magazine that served as the mouthpiece for Vorticism.

In his preface, Pound expressed support for Vorticism's avant-garde aesthetic and its emphasis

on capturing the energy of the modern industrial era. Pound's association with Vorticism was

more through his literary influence and advocacy rather than direct artistic contributions. His

engagement helped bring attention to the movement, contributing to its impact on the broader

cultural landscape of early 20th-century modernism.

Ezra Pound's involvement with Vorticism was a pivotal chapter in the history of modernist art

and literature during the early 20th century. Vorticism, a short-lived avant-garde movement that

emerged in the United Kingdom around 1914, was characterized by its emphasis on dynamism,

abstraction, and a rejection of traditional artistic conventions. Pound, primarily known as a poet,

played a significant role in shaping and promoting Vorticism through his literary contributions

and his association with key figures of the movement.

Pound's engagement with Vorticism can be traced back to his connections with the London-

based artistic and literary circles of the time. He developed a close relationship with artists

Wyndham Lewis and Henri Gaudier-Brzeska, both central figures in the Vorticist movement.

Pound's influence extended beyond poetry; he actively participated in the Vorticist journal

"BLAST," contributing essays and promoting the movement's principles.

In his literary efforts, Pound's poetry embodied Vorticist ideals by experimenting with language,

form, and rhythm. His work, especially the collection "Ripostes" (1912) and the epic poem

"Hugh Selwyn Mauberley" (1920), reflected Vorticism's rejection of Victorian sentimentality

and its embrace of a more fragmented and abstract aesthetic. Pound's commitment to forging

new artistic frontiers aligned with the Vorticist manifesto, which emphasized a break from

tradition and a celebration of the modern, industrialized world.

Pound's involvement in the Vorticist movement was not without controversy. His relationships

with other key members, notably Wyndham Lewis, were marked by tensions and disagreements.

Nevertheless, Pound's contributions to "BLAST" and his advocacy for Vorticism in the literary

and artistic scenes of London played a crucial role in establishing the movement's presence and

impact.

Despite its brief existence, Vorticism left an indelible mark on the trajectory of modernist art and

literature. Pound's involvement, both as a poet and as a supporter of the movement, helped shape

the intellectual and creative landscape of the time. The dynamic interplay between Pound's

literary endeavors and the visual arts within the Vorticist context showcases the

interconnectedness of different forms of expression during this transformative period in cultural

history.
Ezra Pound's connection to Vorticism is deeply rooted in his collaboration with the movement's

key figures and his commitment to pushing the boundaries of artistic expression. Pound's

engagement with Vorticism unfolded within the vibrant cultural milieu of early 20th-century

London, where he interacted with avant-garde artists and writers who sought to break away from

established artistic norms. One of the central figures in Pound's Vorticist network was Wyndham

Lewis, a painter and writer who co-founded the movement. Pound and Lewis shared a common

vision of redefining art in response to the rapidly changing modern world. Pound's literary

contributions to the Vorticist journal "BLAST" reflected this shared vision, as he penned essays

that articulated the movement's principles and advocated for a departure from traditional artistic

forms.

In these essays, Pound championed the idea of a "vortex" as a symbol of dynamic, modern

energy, and he urged artists and writers to embrace this concept in their work. The Vorticist

manifesto, published in the first issue of "BLAST" in 1914, outlined the movement's rejection of

sentimentality and its embrace of the machine age. Pound's literary output echoed these themes,

as seen in his poems that experimented with fragmented language and reflected the influence of

Cubist and Futurist aesthetics. Hugh Selwyn Mauberley is a long poem by Ezra Pound that was

published in 1920. The poem is divided into two parts, with the first part consisting of eighteen

short poems and the second part consisting of one long poem. The poem is a reflection on the

state of modern society and the role of the artist in that society. In the poems of Hugh Selwyn

Mauberley, Pound expressed the disgust and rejection of British society which had been building

in him during World War I. Increasingly at odds with a culture that had embraced sordid

economic gain at the expense of art and lives—ten million people died in the war, and for
nothing, in Pound’s view—Pound used Hugh Selwyn Mauberley to pen a sharp, critical farewell

to England and his poetic theories and practices.

Pound's involvement with Vorticism, however, was not without its complications. Disagreements

and conflicts, particularly with Lewis, arose over artistic direction and ideological differences.

Despite these tensions, Pound's influence persisted, and his efforts helped establish Vorticism as

a force challenging the status quo in both literature and the visual arts. In summary, Ezra Pound's

association with Vorticism was multifaceted, encompassing his collaboration with key figures,

his contributions to the movement's manifesto, and the incorporation of Vortist principles into

his poetic works. Pound's engagement played a crucial role in shaping the intellectual and

creative landscape of the early 20th century, leaving a lasting impact on the trajectory of

modernist art and literature.

How Ezra Pound's Involvement with Vorticism Influenced His Writing about Hugh Selwyn

Mauberley.

Ezra Pound's involvement with Vorticism significantly influenced his writing, and this influence

is notably evident in his work "Hugh Selwyn Mauberley." The poem, composed in 1920, stands

as a reflection of Pound's engagement with the Vorticist movement and his broader commitment

to modernist principles.

In "Hugh Selwyn Mauberley," Pound employs Vorticist aesthetics and techniques to convey a

sense of disillusionment with contemporary society and culture. The poem is structured in two

parts, and it serves as both a self-portrait and a critique of the cultural milieu of the time. The

fragmented and elliptical nature of the verses reflects the Vorticist emphasis on dynamism and

the rejection of conventional forms.

One key aspect of Vorticism that finds expression in "Hugh Selwyn Mauberley" is the

movement's rejection of sentimentality. Pound, through the character of Mauberley, critiques the

cultural stagnation and artistic complacency of his era. The poem embodies the Vorticist call for

a break from tradition and a celebration of the modern, industrialized world. This rejection of

sentimentality aligns with Pound's broader intellectual stance during this period and his belief in

the need for a radical reevaluation of artistic and cultural values.

Pound was one of the founders of the Vorticist movement, which was a short-lived British avant-

garde movement in the early 20th century. The movement was characterized by its emphasis on

the visual arts and its rejection of traditional artistic forms. Pound's involvement with Vorticism

had a significant impact on his writing, including his work on Hugh Selwyn Mauberley. The

poem is a reflection of Pound's disillusionment with the state of modern society and his belief

that the artist had a responsibility to challenge the status quo. The poem is also a reflection of

Pound's belief that artists should be engaged with the world around them and that their work

should be a reflection of that engagement. Furthermore, the influence of Vorticist visual arts is

evident in Pound's use of imagery and language in "Hugh Selwyn Mauberley." The poem draws

upon Cubist and Futurist aesthetics, reflecting the movement's fascination with fragmentation

and the mechanized aspects of modern life. This visual and linguistic experimentation aligns

with the Vorticist manifesto's call for a more dynamic and abstract expression in the arts.

Pound's engagement with Vorticism also impacted the thematic content of the poem. The focus

on the individual artist's struggle against societal constraints and the exploration of the tension

between tradition and innovation resonates with the broader concerns of the Vorticist movement.

In conclusion, Pound's involvement with Vorticism had a significant impact on his writing,

including his work on Hugh Selwyn Mauberley. The poem is a reflection of Pound's
disillusionment with the state of modern society and his belief that the artist had a responsibility

to challenge the status quo. The poem is also a reflection of Pound's belief that artists should be

engaged with the world around them and that their work should be a reflection of that

engagement.

EZRA POUND AND THE IMAGIST MOVEMENT.

Ezra Pound was a significant figure in the Imagist movement, which emerged in the early 20th

century as a reaction against the verbosity and sentimentality of Victorian poetry. Pound, along

with other poets such as H.D. (Hilda Doolittle) and Richard Aldington, formulated the Imagist

principles.

Pound's involvement included providing a clear definition of Imagism, emphasizing the use of

precise and vivid language, the importance of direct presentation, and the creation of "an

intellectual and emotional complex in an instant of time." He also actively promoted Imagist

poets through his editorial work and writings. Ezra Pound's involvement with Imagism was a

significant chapter in the development of modernist poetry during the early 20th century.

Imagism, a movement that emerged around 1912, emphasized clear and precise language, the use

of free verse, and the presentation of vivid, concrete images. Pound played a central role in

shaping Imagism, both as a practitioner of the movement's principles and as a promoter and

theorist.

Pound's association with Imagism began with his interactions with other poets, including H.D.

(Hilda Doolittle), Richard Aldington, and F.S. Flint. Together, they formulated the principles that

would come to define Imagism. Pound is credited with coining the term "Imagism" itself and

played a key role in shaping the movement's manifesto, which he published in the March 1913
issue of "Poetry" magazine. The Imagist Manifesto, often attributed to Pound, outlined the key

tenets of the movement. It called for the use of direct, precise language, the creation of a

concentrated, sensory experience through images, and the avoidance of unnecessary words or

sentimentality. Pound's emphasis on the "luminous detail," or the use of specific and evocative

imagery, became a hallmark of Imagist poetry.

Pound's poetry during the Imagist period reflects these principles. His "In a Station of the

Metro," a two-line poem, is a quintessential example of the Imagist technique, distilling a vivid

image into a brief, impactful expression. The poem reads: "The apparition of these faces in the

crowd; / Petals on a wet, black bough." Here, Pound captures a fleeting moment with precision,

conveying a visual snapshot that resonates with the movement's commitment to clarity and

immediacy. Pound's involvement extended beyond his poetic contributions. He actively

promoted Imagism through his editorial work and critical writings. Pound's involvement with

"Des Imagistes," an anthology published in 1914 that showcased Imagist poets, further solidified

his role as a leading figure in the movement. His essays, such as "A Retrospect" and "How I

Began," provided theoretical foundations for Imagism, influencing not only the poets associated

with the movement but also later generations of writers.

Despite his significant contributions, Pound's relationship with Imagism was not without

complexities. Internal disagreements within the group and Pound's evolving artistic interests led

to his eventual distancing from the movement. However, the principles and techniques

established during the Imagist period had a lasting impact on the trajectory of modernist poetry.

Ezra Pound's involvement with Imagism had a profound impact on his writing, and this influence

is discernible in his work "Hugh Selwyn Mauberley." While "Mauberley" was written after the

heyday of Imagism, Pound's engagement with the movement's principles is evident in several
aspects of the poem. Imagism, with its emphasis on clarity, precision, and the use of vivid,

concrete images, laid the groundwork for Pound's approach to poetic expression. In "Hugh

Selwyn Mauberley," Pound continues to explore the power of imagery, though with a more

reflective and critical tone than the direct snapshots often associated with Imagist poetry.

The poem is divided into two parts, with the first part presenting a satirical self-portrait of

Mauberley, a fictional character embodying aspects of Pound's struggles as an artist in a

changing world. Pound employs specific, concrete images to convey Mauberley's

disillusionment with the cultural and artistic climate of the time. This approach resonates with

the Imagist's commitment to presenting clear, visual impressions.

Additionally, Pound's use of free verse and his avoidance of traditional poetic forms in "Hugh

Selwyn Mauberley" align with the Imagist preference for open forms that allow for flexibility

and the organic development of the poem. The rejection of conventional rhyme and meter is a

departure from earlier poetic traditions and reflects Pound's ongoing experimentation with

language and structure. While Imagism typically focuses on the immediate and sensory aspects

of a scene, "Hugh Selwyn Mauberley" incorporates a more complex narrative and thematic

depth. Pound delves into broader social and cultural critiques, addressing the challenges faced by

the artist in a rapidly changing world. This expansion of scope doesn't negate the Imagist

influence but rather showcases Pound's ability to adapt and extend the movement's principles to

suit his evolving artistic vision.

Ezra Pound's involvement with Imagism significantly influenced the stylistic and thematic

elements of his later work, including "Hugh Selwyn Mauberley." While Imagism, as a formal

movement, had peaked before the writing of "Mauberley," the principles and techniques Pound
embraced during his Imagist phase continued to shape his poetry. Imagism, characterized by its

focus on direct and vivid images, clarity, and conciseness, had a lasting impact on Pound's

understanding of poetic expression. In "Hugh Selwyn Mauberley," Pound employs concrete and

specific imagery to convey a nuanced narrative and social critique. The first part of the poem, in

particular, presents a series of sharply drawn images that collectively paint a portrait of

Mauberley's struggles and disillusionment.

Pound's adherence to Imagist principles is evident in his use of free verse, a departure from

traditional poetic forms. This departure allows for a more flexible and organic structure, aligning

with the Imagist's preference for open forms that let the content dictate the shape of the poem.

While the thematic scope of "Mauberley" extends beyond the immediate sensory impressions

often associated with Imagism, the commitment to free verse and the rejection of rigid formal

constraints showcase Pound's ongoing engagement with Imagist aesthetics.

Furthermore, Imagism's emphasis on presenting things directly, without unnecessary

ornamentation, aligns with Pound's approach in "Mauberley." The poem eschews sentimentality

and excess, opting for a more distilled and precise language. This commitment to clarity serves

not only the Imagist ethos but also contributes to the satirical and critical tone of the poem. It's

essential to note that while Imagism provided a foundational influence, "Hugh Selwyn

Mauberley '' also exhibits Pound's departure from some Imagist principles. The poem is more

expensive both in its narrative structure and thematic exploration, moving beyond the immediate

visual impressions characteristic of Imagism. This evolution showcases Pound's ability to adapt

and integrate diverse influences into his poetic vision.

In summary, Ezra Pound's involvement with Imagism significantly impacted "Hugh Selwyn

Mauberley." The poem, while extending beyond the strict confines of Imagism, incorporates its

principles, such as vivid imagery, clarity, and the use of free verse. Pound's engagement with

Imagism demonstrates the enduring influence of this movement on his evolving poetic style and

thematic concerns.

Hugh Selwyn Mauberley is a long poem by Ezra Pound that was published in 1920. The poem is

divided into two parts, with the first part consisting of eighteen short poems and the second part

consisting of one long poem. The poem is a reflection on the state of modern society and the role

of the artist in that society. In the poems of Hugh Selwyn Mauberley, Pound expressed the

disgust and rejection of British society which had been building in him during World War I.

Increasingly at odds with a culture that had embraced sordid economic gain at the expense of art

and lives—ten million people died in the war, and for nothing, in Pound’s view—Pound used

Hugh Selwyn Mauberley to pen a sharp, critical farewell to England and his poetic theories and

practices.

Pound’s involvement with Imagism had a significant impact on his writing, including his work

on Hugh Selwyn Mauberley. Imagism was a reaction against the sentimentality and romanticism

of the Victorian era, and it sought to create a new kind of poetry that was more direct and

precise. The Imagists believed that poetry should be a series of images that were presented

clearly and concisely. They also believed that the poet should be an objective observer who

presented the world as it was, without any personal bias or emotion. Pound’s poetry was

characterized by its use of free verse, its emphasis on the image, and its rejection of traditional

poetic forms such as rhyme and meter.

In summary, Ezra Pound's involvement with Imagism left an indelible mark on his approach to

poetry, and elements of Imagist principles can be identified in "Hugh Selwyn Mauberley." The

emphasis on clear, precise language and the use of vivid imagery, though employed in a more

expansive and critical context, showcases the lasting impact of Imagism on Pound's poetic

sensibilities during the composition of this significant work. Ezra Pound's involvement with

Imagism marked a crucial phase in the evolution of modernist poetry. His role as a practitioner,

theorist, and promoter helped define Imagism's principles, which focused on clarity, precision,

and the evocation of vivid images. Pound's impact on the movement extended beyond his poetry,

influencing the broader landscape of 20th-century literature.