Hilda Doolittle. Pound eventually moved to London where he lived for 12 years, where he became acquainted with writers W. Yeats and Ford Madox Ford as well as artists, composers, and philosophers. By Pound, along with H. Flint, had founded the imagist group. In Italy he became increasingly fascinated by Benito Mussolini, and from he made radio talks in which he expressed his support of the dictator.
In Pound was indicted for treason; he was held at St. He spent his final years in Italy. As a literary critic and mentor, Pound had a great influence on his contemporaries. Yeats and Robert Frost both accepted editorial advice from him. A champion of T.
Alfred Prufrock. To use absolutely no word that does not contribute to the presentation. As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.
Indeed vers libre has become as prolix and as verbose as any of the flaccid varieties that preceded it. It has brought faults of its own. The actual language and phrasing is often as bad as that of our elders without even the excuse that the words are shovelled in to fill a metric pattern or to complete the noise of a rhyme-sound. But it is, on the whole, good that the field should be ploughed. Perhaps a few good poems have come from the new method, and if so it is justified.
Criticism is not a circumscription or a set of prohibitions. It provides fixed points of departure. It may startle a dull reader into alertness. That little of it which is good is mostly in stray phrases; or if it be an older artist helping a younger it is in great measure but rules of thumb, cautions gained by experience. I set together a few phrases on practical working about the time the first remarks on imagisme were published.
I reprint my cautions from Poetry for March, It is better to present one Image in a lifetime than to produce voluminous works.
All this, however, some may consider open to debate. I can not put all of them into Mosaic negative. Pay no attention to the criticism of men who have never themselves written a notable work. Pound begins with a piece of advice that applies as much to poetry as it does to the rest of life: Pay no attention to the criticism of men who have never themselves written a notable work. It mixes an abstraction with the concrete.
Go in fear of abstractions. What the expert is tired of today the public will be tired of tomorrow. Be influenced by as many great artists as you can, but have the decency either to acknowledge the debt outright, or to try to conceal it. Use either no ornament or good ornament. Next, he examines rhythm and rhyme: Let the neophyte know assonance and alliteration, rhyme immediate and delayed, simple and polyphonic, as a musician would expect to know harmony and counter-point and all the minutiae of his craft.
Saxon charms, Hebridean Folk Songs, the verse of Dante, and the lyrics of Shakespeare - if he can dissociate the vocabulary from the cadence. Let him dissect the lyrics of Goethe coldly into their component sound values, syllables long and short, stressed and unstressed, into vowels and consonants. It is not necessary that a poem should rely on its music, but if it does rely on its music that music must be such as will delight the expert.
Let the neophyte know assonance and alliteration, rhyme immediate and delayed, simple and polyphonic, as a musician would expect to know harmony and counterpoint and all the minutiae of his craft.
No time is too great to give to these matters or to any one of them, even if the artist seldom have need of them. Don't imagine that a thing will 'go' in verse just because it's too dull to go in prose. Don't be 'viewy' - leave that to the writers of pretty little philosophic essays.
Don't be descriptive; remember that the painter can describe a landscape much better than you can, and that he has to know a deal more about it.
When Shakespeare talks of the 'Dawn in russet mantle clad' he presents something which the painter does not present. There is in this line of his nothing that one can call description; he presents.
Consider the way of the scientists rather than the way of an advertising agent for a new soap. The scientist does not expect to be acclaimed as a great scientist until he has discovered something.
He begins by learning what has been discovered already. He goes from that point onward. He does not bank on being a charming fellow personally.
In Italy he became increasingly fascinated by Benito Mussolini, and from he made radio talks in which he expressed his support of the dictator. I can not put all of them into Mosaic negative.
Do not retell in mediocre verse what has already been done in good prose. They are 'all over the shop'. Consider the way of the scientists rather than the way of an advertising agent for a new soap.
Consider the definiteness of Dante's presentation, as compared with Milton's rhetoric. Don't allow 'influence' to mean merely that you mop up the particular decorative vocabulary of some one or two poets whom you happen to admire. In short, behave as a musician, a good musician, when dealing with that phase of your art which has exact parallels in music. It may be that their content is too much embedded in me for me to look back at the words. As for the nineteenth century, with all respect to its achievements, I think we shall look back upon it as a rather blurry, messy sort of a period, a rather sentimentalistic, mannerish sort of a period. The same laws govern, and you are bound by no others.
Consider the definiteness of Dante's presentation, as compared with Milton's rhetoric. No time is too great to give to these matters or to any one of them, even if the artist seldom have need of them. Consider the way of the scientists rather than the way of an advertising agent for a new soap. He goes from that point onward.