Poems List

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.
511

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?
434

Canto XLIX: For the Seven Lakes

Canto XLIX: For the Seven Lakes

For the seven lakes, and by no man these verses:
Rain; empty river; a voyage,
Fire from frozen cloud, heavy rain in the twilight
Under the cabin roof was one lantern.
The reeds are heavy; bent;
and the bamboos speak as if weeping.


Autumn moon; hills rise about lakes
against sunset
Evening is like a curtain of cloud,
a blurr above ripples; and through it
sharp long spikes of the cinnamon,
a cold tune amid reeds.
Behind hill the monk's bell
borne on the wind.
Sail passed here in April; may return in October
Boat fades in silver; slowly;
Sun blaze alone on the river.


Where wine flag catches the sunset
Sparse chimneys smoke in the cross light


Comes then snow scur on the river
And a world is covered with jade
Small boat floats like a lanthorn,
The flowing water closts as with cold. And at San Yin
they are a people of leisure.


Wild geese swoop to the sand-bar,
Clouds gather about the hole of the window
Broad water; geese line out with the autumn
Rooks clatter over the fishermen's lanthorns,


A light moves on the north sky line;
where the young boys prod stones for shrimp.
In seventeen hundred came Tsing to these hill lakes.
A light moves on the South sky line.


State by creating riches shd. thereby get into debt?
This is infamy; this is Geryon.
This canal goes still to TenShi
Though the old king built it for pleasure


K E I M E N R A N K E I
K I U M A N M A N K E I
JITSU GETSU K O K W A
T A N FUKU T A N K A I


Sun up; work
sundown; to rest
dig well and drink of the water
dig field; eat of the grain



Imperial power is? and to us what is it?


The fourth; the dimension of stillness.
And the power over wild beasts.
380

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.
533

Canto I

Canto I

And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on tha swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, so 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, unpierced ever
With glitter of sun-rays
Nor with stars stretched, nor looking back from heaven
Swartest night stretched over wretched men there.
The ocean flowing backward, came we then 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-head;
As set in Ithaca, sterile bulls of the best
For sacrifice, heaping the pyre with goods,
A 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 at the old who had borne much;
Souls stained with recent tears, girls tender,
Men many, mauled with bronze lance heads,
Battle spoil, bearing yet dreory arms,
These many crowded about me; with shouting,
Pallor upon me, cried to my men for more beasts;
Slaughtered the heards, sheep slain of bronze;
Poured ointment, cried to the gods,
To Pluto the strong, and praised Proserpine;
Unsheathed the narrow sword,
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 sea-bord, and inscribed:
A man of no fortune, and with a name to come.
And set my oar up, that I swung mid fellows."


And Anticlea came, whom I beat off, and then Tiresias Theban,
Holding his golden wand, knew me, and spoke first:
"A second time? why? man of ill star,
Facing the sunless dead and this joyless region?
Stand from the fosse, leave me my bloody bever
For soothsay."


And I stepped back,
And he stong with the blood, said then: "Odysseus
Shalt return through spiteful Neptune, over dark seas,
Lose all companions." And then Anticlea came.
Lie quiet Divus. I mean, that is Andreas Divus,
In officina Wecheli, 1538, out of Homer.
And he sailed, by Sirens and thence outward and away
And unto Circe.


Venerandam,
In the Creatan's phrase, with the golden crown, Aphrodite,
Cypri munimenta sortita est, mirthful, orichalchi, with golden
Girdles and breast bands, thou with dark eyelids
Bearing the golden bough of Argicida. So that:
477

Canto 13

Canto 13

Kung walked
by the dynastic temple
and into the cedar grove,
and then out by the lower river,
And with him Khieu Tchi

and Tian the low speaking
And "we are unknown," said Kung,
"You will take up charioteering?

"Then you will become known,
"Or perhaps I should take up charioterring, or archery?
"Or the practice of public speaking?"
And Tseu-lou said, "I would put the defences in order,"
And Khieu said, "If I were lord of a province
"I would put it in better order than this is."
And Tchi said, "I would prefer a small mountain temple,
"With order in the observances,

with a suitable performance of the ritual,"
And Tian said, with his hand on the strings of his lute
The low sounds continuing

after his hand left the strings,
And the sound went up like smoke, under the leaves,
And he looked after the sound:

"The old swimming hole,
"And the boys flopping off the planks,
"Or sitting in the underbrush playing mandolins."

And Kung smiled upon all of them equally.
And Thseng-sie desired to know:

"Which had answered correctly?"
And Kung said, "They have all answered correctly,
"That is to say, each in his nature."
And Kung raised his cane against Yuan Jang,

Yuan Jang being his elder,
For Yuan Jang sat by the roadside pretending to
be receiving wisdom.
And Kung said
"You old fool, come out of it,
"Get up and do something useful."

And Kung said
"Respect a child's faculties
"From the moment it inhales the clear air,
"But a man of fifty who knows nothng

Is worthy of no respect."
And "When the prince has gathered about him
"All the savants and artists, his riches will be fully employed."
And Kung said, and wrote on the bo leaves:

If a man have not order within him
He can not spread order about him;
And if a man have not order within him
His family will not act with due order;

And if the prince have not order within him
He can not put order in his dominions.
And Kung gave the words "order"



and "brotherly deference"
And said nothing of the "life after death."
And he said


"Anyone can run to excesses,
"It is easy to shoot past the mark,
"It is hard to stand firm in the middle."


And they said: If a man commit murder
Should his father protect him, and hide him?
And Kung said:
He should hide him.


And Kung gave his daughter to Kong-Tchang
Although Kong-Tchang was in prison.
And he gave his niece to Nan-Young
although Nan-Young was out of office.
And Kung said "Wan ruled with moderation,

"In his day the State was well kept,
"And even I can remember
"A day when the historians left blanks in their writings,
"I mean, for things they didn't know,
"But that time seems to be passing.
A day when the historians left blanks in their writings,
But that time seems to be passing."
And Kung said, "Without character you will

"be unable to play on that instrument
"Or to execute the music fit for the Odes.
"The blossoms of the apricot

"blow from the east to the west,
"And I have tried to keep them from falling."
520

Black Slippers: Bellotti

Black Slippers: Bellotti

At the table beyond us
With her little suede slippers off,
With her white-stocking'd feet
Carefully kept from the floor by a napkin,
She converses:


'Connaissez-vous Ostende?'


The gurgling Italian lady on the other side of the
restaurant
Replies with a certain hauteur,
But I await with patience,
To see how Celestine will re-enter her slippers.
She re-enters them with a groan.
325

Cantico del Sole

Cantico del Sole

The thought of what America would be like
If the Classics had a wide circulation

Troubles my sleep,
The thought of what America,
The thought of what America,The thought of what America would be like
If the Classics had a wide circulation

Troubles my sleep.
Nunc dimittis, now lettest thou thy servant,
Now lettest thou thy servant

Depart in peace.
The thought of what America,
The thought of what America,
The thought of what America would be like
If the Classics had a wide circulation...

Oh well!
It troubles my sleep.
462

Ballad for Gloom

Ballad for Gloom

For God, our God is a gallant foe
That playeth behind the veil.


I have loved my God as a child at heart
That seeketh deep bosoms for rest,
I have loved my God as a maid to man—
But lo, this thing is best:


To love your God as a gallant foe that plays behind the veil;
To meet your God as the night winds meet beyond Arcturus' pale.


I have played with God for a woman,
I have staked with my God for truth,
I have lost to my God as a man, clear-eyed—
His dice be not of ruth.


For I am made as a naked blade,
But hear ye this thing in sooth:


Who loseth to God as man to man
Shall win at the turn of the game.
I have drawn my blade where the lightnings meet
But the ending is the same:
Who loseth to God as the sword blades lose
Shall win at the end of the game.


For God, our God is a gallant foe that playeth behind the veil.
Whom God deigns not to overthrow hath need of triple mail.
528

Ballatetta

Ballatetta


The light became her grace and dwelt among
Blind eyes and shadows that are formed as men;
Lo, how the light doth melt us into song:


The broken sunlight for a healm she beareth
Who hath my heart in jurisdiction.
In wild-wood never fawn nor fallow fareth
So silent light; no gossamer is spun
So delicate as she is, when the sun
Drives the clear emeralds from the bended grasses
Lest they should parch too swiftly, where she passes.
448

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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.