Ezra Pound

Ezra Pound

1885–1972 · lived 87 years US US

Ezra Pound was a highly influential American poet and critic, and a major figure in the modernist movement. He was a key proponent of Imagism and Vorticism, championing a return to classical forms and precise imagery in poetry. Pound's extensive work, most notably "The Cantos," is characterized by its complex allusions, multilingualism, and engagement with history, economics, and art. His influence extended to many other writers, including T.S. Eliot, Ernest Hemingway, and James Joyce, whom he actively supported and promoted.

n. 1885-10-30, Hailey · m. 1972-11-01, Veneza

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Dum Capitolium Scandet

Dum Capitolium Scandet

How many will come after me
singing as well as I sing, none better;
Telling the heart of their truth
as I have taught them to tell it;
Fruit of my seed,
O my unnameable children.
Know then that I loved you from afore-time,
Clear speakers, naked in the sun, untrammelled.
Read full poem
Bio

Identification and basic context

Ezra Weston Loomis Pound was an American expatriate poet, critic, musician, and translator. He is widely considered one of the most influential figures of literary modernism. Pound was instrumental in the development of two significant movements: Imagism and Vorticism. His work is marked by a profound engagement with history, economics, art, and diverse cultural traditions, often employing a complex, allusive style. He wrote primarily in English, but his work is characterized by its multilingualism and extensive use of foreign language quotations. He spent most of his adult life as an expatriate, living in Italy, France, and England.

Childhood and education

Pound was born in Hailey, Idaho, but his family soon moved to Philadelphia, where he spent his formative years. His father worked as a registrar at the Philadelphia Mint. Pound displayed an early interest in languages and literature. He attended Hamilton College and the University of Pennsylvania, where he studied Romance languages and literature. His early education instilled in him a deep appreciation for classical literature and languages, which would profoundly shape his poetic sensibilities. He was also exposed to various cultural and philosophical ideas that fueled his intellectual curiosity.

Literary trajectory

Pound's literary career began with the publication of his first collection of poems, "A Lume Spento," in Venice in 1908. He quickly became a central figure in the burgeoning modernist literary scene, first in London and later in Paris. He was a key proponent of the Imagist movement, advocating for clarity, precision, and economy of language. He later founded Vorticism, a more aggressive and dynamic movement. Pound was a tireless promoter of other artists, notably T.S. Eliot, James Joyce, and Ernest Hemingway, providing critical support, introductions, and financial assistance. His most ambitious and sprawling work is "The Cantos," an epic poem in progress that occupied him for much of his life.

Works, style, and literary characteristics

Pound's major works include "Personae" (1909), "Ripostes" (1912), "Hugh Selwyn Mauberley" (1920), and the monumental "The Cantos" (published in stages from the 1920s until his death). His style evolved over time, but consistently featured a demand for precision in language, a rejection of vague sentimentality, and an interest in juxtaposing diverse historical and cultural elements. Themes in his work often include the decline of civilization, the nature of beauty, the corrupting influence of usury, and the search for order. He experimented with form, incorporating elements of free verse, classical meters, and polyphonic structures. His poetic voice could be lyrical, scholarly, prophetic, or polemical. Pound's language was rich with allusions to mythology, history, and literature from various cultures, often weaving together multiple languages and dialects.

Cultural and historical context

Pound lived through periods of immense global upheaval, including World War I and World War II. His political views became increasingly controversial, particularly his espousal of fascism and his antisemitic radio broadcasts during World War II, for which he was charged with treason. He was deeply involved with literary circles in London and Paris, where he interacted with many of the leading figures of modernism. His generation of writers grappled with the fragmentation of modern society and sought new forms to express contemporary experience. Pound's engagement with economics, particularly his interest in Social Credit theory, significantly influenced his later work and political outlook.

Personal life

Pound's personal life was marked by complex relationships. He had a long-term relationship with the painter Dorothy Shakespear, whom he married, and also maintained a significant relationship with the violinist Olga Rudge, with whom he had a daughter. His expatriate lifestyle led to periods of financial instability, which he navigated through his promotional activities for other artists and his own writing. His intellectual and political obsessions often dominated his personal interactions, sometimes straining relationships.

Recognition and reception

Pound's initial reception was that of a revolutionary poet and a champion of modernist literature. However, his wartime broadcasts and fascist sympathies led to widespread condemnation and legal repercussions, including his arrest and indictment for treason. He spent years in an psychiatric hospital in Washington D.C. While his literary influence remained undeniable, his public image was severely tarnished. Posthumously, there has been a renewed critical interest in separating his literary achievements from his political views, though this remains a complex and contentious issue.

Influences and legacy

Pound was influenced by classical poets such as Homer and Ovid, as well as by medieval troubadours and Chinese poetry (especially the work of Confucius). His legacy is immense; he was a catalyst for many of the most important writers of the 20th century, including T.S. Eliot, whose "The Waste Land" he significantly edited. He is credited with introducing key ideas of Imagism and Vorticism and shaping the course of modernist poetry. His experimental approach to form, language, and subject matter has had a lasting impact on subsequent generations of poets. His work continues to be studied, translated, and debated worldwide.

Interpretation and critical analysis

Critical analysis of Pound's work often grapples with the tension between his innovative poetic technique and his deeply problematic political and social views. "The Cantos," in particular, has been subject to extensive scholarly interpretation, with critics exploring its epic scope, its engagement with historical figures, and its fragmentation. Debates often center on whether his artistic merit can be separated from his ideological commitments, and how to approach his antisemitism and fascist sympathies within an analysis of his poetry.

Curiosities and lesser-known aspects

Pound was known for his eccentric personality and his fervent pronouncements. He was a prolific correspondent and actively engaged in promoting his contemporaries through letters and introductions. His interest in economics was not merely theoretical; he believed that usury was a primary cause of societal ills and actively campaigned for economic reforms. His habit of collecting and translating diverse literary traditions reflects his lifelong project of weaving a new epic for the modern age.

Death and memory

Pound died in Venice in 1972. His death marked the end of a tumultuous but profoundly influential literary life. His memory remains complex, celebrated for his revolutionary contributions to poetry and modernism, yet shadowed by his wartime political activities. His works continue to be read and studied, ensuring his place as a pivotal, albeit controversial, figure in 20th-century literature.

Poems

125

Erat Hora

Erat Hora

‘Thank you, whatever comes.' And then she turned
And, as the ray of sun on hanging flowers
Fades when the wind hath lifted them aside,
Went swiftly from me. Nay, whatever comes
One hour was sunlit and the most high gods
May not make boast of any better thing
Than to have watched that hour as it passed.
432

Envoi

Envoi


Go, dumb-born book,
Tell her that sang me once that song of Lawes:
Hadst thou but song
As thou hast subjects known,
Then were there cause in thee that should condone
Even my faults that heavy upon me lie
And build her glories their longevity.
Tell her that sheds
Such treasure in the air,
Recking naught else but that her graces give
Life to the moment,
I would bid them live
As roses might, in magic amber laid,
Red overwrought with orange and all made
One substance and one colour
Braving time.
Tell her that goes
With song upon her lips
But sings not out the song, nor knows
The maker of it, some other mouth,
May be as fair as hers,
Might, in new ages, gain her worshippers,
When our two dusts with Waller's shall be laid,
Siftings on siftings in oblivion,
Till change hath broken down
All things save Beauty alone.
470

Epitaph

Epitaph


Leucis, who intended a Grand Passion,
Ends with a willingness-to-oblige.
644

De Ægypto

De Ægypto

I even I, am he who knoweth the roads
Through the sky, and the wind thereof is my body.


I have beheld the Lady of Life,
I, even I, who fly with the swallows.


Green and gray is her raiment,
Trailing along the wind.


I, even I, am he who knoweth the roads
Through the sky, and the wind thereof is my body.


Manus animam pinxit,
My pen is in my hand


To write the acceptable word. . . .
My mouth to chant the pure singing!


Who hath the mouth to receive it,
The song of the Lotus of Kumi?


I, even I, am he who knoweth the roads
Through the sky, and the wind thereof is my body.


I am flame that riseth in the sun,
I, even I, who fly with the swallows.


The moon is upon my forehead,
The winds are under my lips.


The moon is a great pearl in the waters of sapphire,
Cool to my fingers the flowing waters.


I, even I, am he who knoweth the roads
Through the sky, and the wind thereof is my body.
971

Dompna Pois De Me No'us Cal

Dompna Pois De Me No'us Cal

FROM THE PROVENCAL OF EN BERTRANS DE BORN
Lady, since you care nothing for me,
And since you have shut me away from you
Causelessly,
I know not wnere to go seeking,
For certainly
I will never again gather
Joy so rich, and if I find not ever
A lady with look so speaking
To my desire, worth yours whom I have lost,
I’ll have no other love at any cost.


And since I could not find a peer to you,
Neither one so fair, nor of such heart,
So eager and alert,
Nor with such art
In attire, nor so gay
Nor with gift so bountiful and so true,
I will go out a-searching,
Culling from each a fair trait
To make me a borrowed lady
Till I again find you ready.


Bels Cembelins, I take of you your colour,
For it's your own, and your glance
Where love is,
A proud thing I do here,
For, as to colour and eyes
I shall have missed nothing at all,
Having yours.
I ask of Midons Aelis (of Montfort)
Her straight speech free-running,
That my phantom lack not in cunning,


At Chalais of the Viscountess, I would
That she give me outright
Her two hands and her throat,
So take I my road
To Rochechouart,
Swift-foot to my Lady Anhes,
Seeing that Tristan's lady Iseutz had never
Such grace of locks, I do ye to wit,
Though she'd the far fame for it.


Of Audiart at Malemort,
Though she with a full heart
Wish me ill,
I'd have her form that's laced
So cunningly,
Without blemish, for her love
Breaks not nor turns aside.
I of Miels-de-ben demand



Her straight fresh body,
She is so supple and young,
Her robes can but do her wrong.


Her white teeth, of the Lady Faidita
I ask, and the fine courtesy
She hath to welcome one,
And such replies she lavishes
Within her nest;
Of Bels Mirals, the rest,
Tall stature and gaiety,
To make these avail
She knoweth well, betide
No change nor turning aside.


Ah, Bels Senher, Maent, at last
I ask naught from you,
Save that I have such hunger for
This phantom
As I've for you, such flame-lap,
And yet I'd rather
Ask of you than hold another,
Mayhap, right close and kissed.
Ah, lady, why have you cast
Me out, knowing you hold me so fast!
627

Come To My Cantilations

Come To My Cantilations

Come my cantilations,
Let us dump our hatreds into one bunch and be done with them,
Hot sun, clear water, fresh wind,
Let me be free of pavements,
Let me be free of the printers.
Let come beautiful people
Wearing raw silk of good colour,
Let come the graceful speakers,
Let come the ready of wit,
Let come the gay of manner, the insolent and the exulting.
We speak of burnished lakes,
Of dry air, as clear as metal.
440

Dance Figure

Dance Figure

For the Marriage in Cana of Galilee


Dark-eyed,
O woman of my dreams,
Ivory sandalled,
There is none like thee among the dancers,
None with swift feet.
I have not found thee in the tents,
In the broken darkness.
I have not found thee at the well-head
Among the women with pitchers.
Thine arms are as a young sapling under the bark;
Thy face as a river with lights.


White as an almond are thy shoulders;
As new almonds stripped from the husk.
They guard thee not with eunuchs;
Not with bars of copper.


Gilt turquoise and silver are in the place of thy rest.
A brown robe, with threads of gold woven in
patterns, hast thou gathered about thee,
O Nathat-Ikanaie, 'Tree-at-the-river'.


As a rillet among the sedge are thy hands upon me;
Thy fingers a frosted stream.


Thy maidens are white like pebbles;
Their music about thee!


There is none like thee among the dancers;
None with swift feet.
550

Coda

Coda


O My songs,
Why do you look so eagerly and so curiously into
people's faces,
Will you find your lost dead among them?
456

Causa

Causa


I join these words for four people,
Some others may overhear them,
O world, I am sorry for you,
You do not know these four people.
520

Canto III

Canto III

Another's a half-cracked fellow—John Heydon,
Worker of miracles, dealer in levitation,
In thoughts upon pure form, in alchemy,
Seer of pretty visions ('servant of God and secretary of nature');
Full of plaintive charm, like Botticelli's,
With half-transparent forms, lacking the vigor of gods.
Thus Heydon, in a trance, at Bulverton,
Had such a sight:
Decked all in green, with sleeves of yellow silk
Slit to the elbow, slashed with various purples.
Her eyes were green as glass, her foot was leaf-like.
She was adorned with choicest emeralds,
And promised him the way of holy wisdom.
'Pretty green bank,' began the half-lost poem.
Take the old way, say I met John Heydon,
Sought out the place,
Lay on the bank, was 'plungèd deep in swevyn;'
And saw the company—Layamon, Chaucer—
Pass each in his appropriate robes;
Conversed with each, observed the varying fashion.
And then comes Heydon.
'I have seen John Heydon.'
Let us hear John Heydon!
'Omniformis
Omnis intellectus est'—thus he begins, by spouting half of Psellus.
(Then comes a note, my assiduous commentator:
Not Psellus De Daemonibus, but Porphyry's Chances,
In the thirteenth chapter, that 'every intellect is omni-form.')
Magnifico Lorenzo used the dodge,
Says that he met Ficino
In some Wordsworthian, false-pastoral manner,
And that they walked along, stopped at a well-head,
And heard deep platitudes about contentment
From some old codger with an endless beard.
'A daemon is not a particular intellect,
But is a substance differed from intellect,'
Breaks in Ficino,
'Placed in the latitude or locus of souls'—
That's out of Proclus, take your pick of them.
Valla, more earth and sounder rhetoric—
Prefacing praise to his Pope Nicholas:
'A man of parts, skilled in the subtlest sciences;
A patron of the arts, of poetry; and of a fine discernment.'
Then comes a catalogue, his jewels of conversation.
No, you've not read your Elegantiae—
A dull book?—shook the church.
The prefaces, cut clear and hard:
'Know then the Roman speech, a sacrament,'
Spread for the nations, eucharist of wisdom,
Bread of the liberal arts.
Ha! Sir Blancatz,
Sordello would have your heart to give to all the princes;



Valla, the heart of Rome,
Sustaining speech, set out before the people.
'Nec bonus Christianus ac bonus
Tullianus.'
Marius, Du Bellay, wept for the buildings,
Baldassar Castiglione saw Raphael
'Lead back the soul into its dead, waste dwelling,'
Corpore laniato; and Lorenzo Valla,
'Broken in middle life? bent to submission?—
Took a fat living from the Papacy'
(That's in Villari, but Burckhardt's statement is different)—
'More than the Roman city, the Roman speech'
(Holds fast its part among the ever-living).
'Not by the eagles only was Rome measured.'
'Wherever the Roman speech was, there was Rome,'
Wherever the speech crept, there was mastery
Spoke with the law's voice while your Greek, logicians...
More Greeks than one! Doughty's 'divine Homeros'
Came before sophistry. Justinopolitan
Uncatalogued Andreas Divus,
Gave him in Latin, 1538 in my edition, the rest uncertain,
Caught up his cadence, word and syllable:
'Down to the ships we went, set mast and sail,
Black keel and beasts for bloody sacrifice,
Weeping we went.'
I've strained my ear for -ensa, -ombra, and -ensa
And cracked my wit on delicate canzoni—
Here's but rough meaning:
'And then went down to the ship, set keel to breakers,
Forth on the godly sea;
We set up mast and sail on the swarthy ship,
Sheep bore we aboard her, and our bodies also
Heavy with weeping. And winds from sternward
Bore us out onward with bellying canvas—
Circe's this craft, the trim-coifed goddess.
Then sat we amidships, wind jamming the tiller.
Thus with stretched sail
We went over sea till day's end:
Sun to his slumber, shadows o'er all the ocean.
Came we then to the bounds of deepest water,
To the Kimmerian lands and peopled cities
Covered with close-webbed mist, unpiercèd ever
With glitter of sun-rays,
Nor with stars stretched, nor looking back from heaven,
Swartest night stretched over wretched men there.
Thither we in that ship, unladed sheep there,
The ocean flowing backward, came we through to the place
Aforesaid by Circe.
Here did they rites, Perimedes and Eurylochus,
And drawing sword from my hip
I dug the ell-square pitkin, poured we libations unto each the dead,
First mead and then sweet wine,



Water mixed with white flour.
Then prayed I many a prayer to the sickly death's-heads
As set in Ithaca, sterile bulls of the best,
For sacrifice, heaping the pyre with goods.
Sheep, to Tiresias only,
Black, and a bell sheep;
Dark blood flowed in the fosse.
Souls out of Erebus, cadaverous dead
Of brides, of youths, and of many passing old,
Virgins tender, souls stained with recent tears,
Many men mauled with bronze lance-heads,
Battle spoil, bearing yet dreary arms:
These many crowded about me,
With shouting, pallor upon me, cried to my men for more beasts;
Slaughtered the herds—sheep slain of bronze,
Poured ointment, cried to the gods,
To Pluto the strong, and praised Proserpine.
Unsheathed the narrow steel,
I sat to keep off the impetuous, impotent dead
Till I should hear Tiresias.
But first Elpenor came, our friend Elpenor,
Unburied, cast on the wide earth—
Limbs that we left in the house of Circe,
Unwept, unwrapped in sepulchre, since toils urged other,
Pitiful spirit—and I cried in hurried speech:
'Elpenor, how art thou come to this dark coast?
Cam'st thou afoot, outstripping seamen?' And he in heavy speech:
'Ill fate and abundant wine! I slept in Circe's ingle,
Going down the long ladder unguarded, I fell against the buttress,
Shattered the nape-nerve, the soul sought Avernus.
But thou, O King, I bid remember me, unwept, unburied!
Heap up mine arms, be tomb by the sea-board, and inscribed,
A man of no fortune and with a name to come;
And set my oar up, that I swung 'mid fellows.'
Came then another ghost, whom I beat off, Anticlea,
And then Tiresias, Theban,
Holding his golden wand, knew me and spoke first:
'Man of ill hour, why come a second time,
Leaving the sunlight, facing the sunless dead and this joyless region?
Stand from the fosse, move back, leave me my bloody bever,
And I will speak you true speeches.'
'And I stepped back,
Sheathing the yellow sword. Dark blood he drank then
And spoke: 'Lustrous Odysseus, shalt
Return through spiteful Neptune, over dark seas,
Lose all companions.' Foretold me the ways and the signs.
Came then Anticlea, to whom I answered:
'Fate drives me on through these deeps; I sought Tiresias.'
I told her news of Troy, and thrice her shadow
Faded in my embrace.
Then had I news of many faded women—
Tyro, Alcmena, Chloris—



Heard out their tales by that dark fosse, and sailed
By sirens and thence outward and away,
And unto Circe buried Elpenor's corpse.'


Lie quiet, Divus.
In Officina Wechli, Paris,


M. D. three X's, Eight, with Aldus on the Frogs,
And a certain Cretan's
Hymni Deorum:
(The thin clear Tuscan stuff
Gives way before the florid mellow phrase.)
Take we the Goddess, Venus:
Venerandam,
Aurean coronam habentem, pulchram,
Cypri munimenta sortita est, maritime,
Light on the foam, breathed on by zephyrs,
And air-tending hours. Mirthful, orichalci
, with golden
Girdles and breast bands.
Thou with dark eye-lids,
Bearing the golden bough of Argicida.
555

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