Ezra Pound(1885–1972). "The Love Song of J. Alfred Prufrock" by T. S. Eliot

 "The Love Song of J. Alfred Prufrock"

by T. S. Eliot

Let us go then, you and I,

When the evening is spread out against the sky

Like a patient etherized upon a table;

Let us go, through certain half-deserted streets,

The muttering retreats

Of restless nights in one-night cheap hotels

And sawdust restaurants with oyster-shells:

Streets that follow like a tedious argument

Of insidious intent

To lead you to an overwhelming question ...

Oh, do not ask, “What is it?”

Let us go and make our visit.

In the room the women come and go

Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes,

The yellow smoke that rubs its muzzle on the window-panes,

Licked its tongue into the corners of the evening,

Lingered upon the pools that stand in drains,

Let fall upon its back the soot that falls from chimneys,

Slipped by the terrace, made a sudden leap,

And seeing that it was a soft October night,

Curled once about the house, and fell asleep.

And indeed there will be time

For the yellow smoke that slides along the street,

Rubbing its back upon the window-panes;

There will be time, there will be time

To prepare a face to meet the faces that you meet;

There will be time to murder and create,

And time for all the works and days of hands

That lift and drop a question on your plate;

Time for you and time for me,

And time yet for a hundred indecisions,

And for a hundred visions and revisions,

Before the taking of a toast and tea.

In the room the women come and go

Talking of Michelangelo.

And indeed there will be time

To wonder, “Do I dare?” and, “Do I dare?”

Time to turn back and descend the stair,

With a bald spot in the middle of my hair —

(They will say: “How his hair is growing thin!”)

My morning coat, my collar mounting firmly to the chin,

My necktie rich and modest, but asserted by a simple pin —

(They will say: “But how his arms and legs are thin!”)

Do I dare

Disturb the universe?

In a minute there is time

For decisions and revisions which a minute will reverse.

For I have known them all already, known them all:

Have known the evenings, mornings, afternoons,

I have measured out my life with coffee spoons;

I know the voices dying with a dying fall

Beneath the music from a farther room.

So how should I presume?

And I have known the eyes already, known them all—

The eyes that fix you in a formulated phrase,

And when I am formulated, sprawling on a pin,

When I am pinned and wriggling on the wall,

Then how should I begin

To spit out all the butt-ends of my days and ways?

And how should I presume?

And I have known the arms already, known them all—

Arms that are braceleted and white and bare

(But in the lamplight, downed with light brown hair!)

Is it perfume from a dress

That makes me so digress?

Arms that lie along a table, or wrap about a shawl.

And should I then presume?

And how should I begin?

Shall I say, I have gone at dusk through narrow streets

And watched the smoke that rises from the pipes

Of lonely men in shirt-sleeves, leaning out of windows? ...

I should have been a pair of ragged claws

Scuttling across the floors of silent seas.

And the afternoon, the evening, sleeps so peacefully!

Smoothed by long fingers,

Asleep ... tired ... or it malingers,

Stretched on the floor, here beside you and me.

Should I, after tea and cakes and ices,

Have the strength to force the moment to its crisis?

But though I have wept and fasted, wept and prayed,

Though I have seen my head (grown slightly bald) brought in upon a platter,

I am no prophet — and here’s no great matter;

I have seen the moment of my greatness flicker,

And I have seen the eternal Footman hold my coat, and snicker,

And in short, I was afraid.

And would it have been worth it, after all,

After the cups, the marmalade, the tea,

Among the porcelain, among some talk of you and me,

Would it have been worth while,

To have bitten off the matter with a smile,

To have squeezed the universe into a ball

To roll it towards some overwhelming question,

To say: “I am Lazarus, come from the dead,

Come back to tell you all, I shall tell you all”—

If one, settling a pillow by her head

Should say: “That is not what I meant at all;

That is not it, at all.”

And would it have been worth it, after all,

Would it have been worth while,

After the sunsets and the dooryards and the sprinkled streets,

After the novels, after the teacups, after the skirts that trail along the floor—

And this, and so much more?—

It is impossible to say just what I mean!

But as if a magic lantern threw the nerves in patterns on a screen:

Would it have been worth while

If one, settling a pillow or throwing off a shawl,

And turning toward the window, should say:

“That is not it at all,

That is not what I meant, at all.”

No! I am not Prince Hamlet, nor was meant to be;

Am an attendant lord, one that will do

To swell a progress, start a scene or two,

Advise the prince; no doubt, an easy tool,

Deferential, glad to be of use,

Politic, cautious, and meticulous;

Full of high sentence, but a bit obtuse;

At times, indeed, almost ridiculous—

Almost, at times, the Fool.

I grow old ... I grow old ...

I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?

I shall wear white flannel trousers, and walk upon the beach.

I have heard the mermaids singing, each to each.

I do not think that they will sing to me.

I have seen them riding seaward on the waves

Combing the white hair of the waves blown back

When the wind blows the water white and black.

We have lingered in the chambers of the sea

By sea-girls wreathed with seaweed red and brown

Till human voices wake us, and we drown.

Ezra Pound (1885–1972) was a highly influential American poet and critic, best known for his role in shaping Modernist literature. His literary output was vast and eclectic, and his innovative style left a lasting mark on 20th-century poetry. Pound is particularly recognized for his work in promoting fellow writers like T.S. Eliot, James Joyce, and H.D., as well as his pivotal contributions to Imagism, a movement that advocated for clarity of expression through precise visual imagery.

Pound's own writing was characterized by a deep engagement with history, culture, and language. His magnum opus, The Cantos, is a lengthy, often difficult poem that fuses elements from classical literature, economics, and politics. While Pound’s poetry is celebrated for its stylistic and intellectual daring, his reputation was marred by his political beliefs, particularly his support for Italian Fascism during World War II. After the war, Pound was arrested and later committed to a psychiatric hospital, where he remained for over a decade. Despite this, his influence on literature is undeniable, especially in the fields of poetry, translation, and criticism.

Major Works of Ezra Pound:

1. Personae (1909) – A collection of poems that showcases Pound’s early work and his experiments with different poetic voices.

2. Ripostes (1912) – This volume of poetry marked Pound’s departure from his earlier, more traditional style and included early experiments with Imagism.

3. Des Imagistes (1914) – An anthology of Imagist poetry, edited by Pound, featuring works by multiple poets, including himself.

4. Cathay (1915) – A translation of classical Chinese poetry, which had a profound influence on modernist poetry.

5. Lustra (1916) – A collection that includes some of Pound’s most famous early poems and displays his evolving style.

6. Homage to Sextus Propertius (1919) – A controversial interpretation of the work of the Roman poet Propertius, blending translation and creative adaptation.

7. The Cantos (1915–1962) – A long, unfinished poem consisting of more than 100 sections, or "cantos." This is Pound's most ambitious and complex work, incorporating a wide range of historical and cultural references.

8. Guide to Kulchur (1938) – A collection of essays in which Pound expresses his views on art, culture, history, and politics.

9. ABC of Reading (1934) – A critical text in which Pound outlines his views on literature, offering guidance to readers on how to approach poetry.

10. Selected Poems of Ezra Pound (1949) – A compilation of Pound’s significant poems up to that point, reflecting his literary journey and innovations.

Pound’s legacy is complex, intertwined with his literary achievements and his controversial political views, but his impact on modern poetry is undeniable.

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LIFE AND WORKS OF EZRA POUND:

Ezra Pound, a pivotal figure in the modernist literary movement, was both a revolutionary poet and a contentious public figure. This research article explores Pound's extensive contributions to literature, detailing his life, education, and personal experiences. It further examines his major works in poetry and prose, highlighting how his innovative approaches reshaped literary traditions and his controversial political views influenced the reception of his work.

INTRODUCTION:

Ezra Pound's literary career spanned over half a century, making him a central figure in the development of modernist poetry. His work is characterized by its experimental approach to form and its engagement with a wide array of cultural, historical, and political themes. Pound's influence extends beyond his own poetry; he played a crucial role in shaping the careers of other major modernist writers such as T.S. Eliot and James Joyce. This article provides an in-depth analysis of Pound’s life and work, emphasizing both his artistic innovations and the complexities of his personal and political beliefs.

EARLY LIFE AND EDUCATION:

Ezra Pound was born on October 30, 1885, in Hailey, Idaho. His early years were spent in a rural setting, but his family moved to Pennsylvania, where Pound’s intellectual potential began to flourish. His father, Homer Pound, was a former miner and storekeeper, while his mother, Isabel Weston Pound, was a skilled writer and artist. The cultural environment of Pennsylvania, coupled with his mother's literary influence, fostered Pound’s early interest in literature and languages.

Pound attended the University of Pennsylvania, where he majored in Romance languages and literature. During his time at Penn, he was introduced to a variety of literary traditions, including classical, medieval, and Renaissance literature. His academic work was marked by a keen interest in the works of Dante, Chaucer, and the French Symbolists. This diverse literary exposure profoundly influenced his later poetry, evident in his eclectic and innovative style.

Following his graduation in 1905, Pound continued his education at Hamilton College and then in Europe, studying at the University of Venice and spending time in Paris. His exposure to European modernist movements and the avant-garde culture of early 20th-century Europe was instrumental in shaping his literary vision.

PERSONAL LIFE:

Pound’s personal life was characterized by a series of complex relationships and significant life events. He married Dorothy Shakespear, a writer and translator, in 1914. Their relationship was marked by both affection and tension, reflecting the challenges of maintaining personal relationships amidst a tumultuous career. Dorothy's influence on Pound’s work was significant, and her own literary pursuits complemented his creative endeavors.

In the 1920s and 1930s, Pound's personal life was intertwined with his political beliefs. He became increasingly involved in political activism, which was reflected in his writings and public statements. His move to Italy in 1924 marked the beginning of a more overt engagement with fascist politics, which would later become a significant aspect of his controversial legacy.

Pound’s later years were marked by his imprisonment in the United States for treasonous activities related to his support for Mussolini and his anti-Semitic broadcasts during World War II. His confinement in a mental institution from 1945 to 1958 profoundly affected him, both personally and professionally. Despite these challenges, Pound continued to work on his poetry and maintained correspondence with other writers.

MAJOR WORKS:

(I). POETRY :

1."PERSONAE" (1926):

 Personae is a landmark collection in Pound’s career, bringing together many of his significant early modernist poems. This collection represents a critical moment in Pound’s development, showcasing his transition from early experimentation to more mature modernist forms. The poems in Personae are marked by their focus on clarity and precision, reflecting Pound’s commitment to the Imagist principles of economy and directness. The collection includes notable pieces such as “A Pact” and “The River Merchant’s Wife: A Letter,” which highlight Pound’s innovative use of language and form. Through these works, Pound explores themes of personal and cultural transformation, laying the groundwork for his later, more complex projects.

2. "THE CANTOS " (1917-1969):

The Cantos is Pound’s magnum opus, a sprawling and ambitious epic poem that spans over 800 pages. The work is characterized by its dense structure and wide range of references, including historical, literary, and political allusions. The Cantos are divided into several sections, each reflecting different phases of Pound’s intellectual and artistic journey. Notable sections include the early cantos that focus on themes of personal struggle and disillusionment, and later cantos that delve into political and economic criticism. The work is notable for its use of collage and fragmentation, reflecting Pound’s belief in the power of modernist techniques to convey complex and multifaceted ideas. The poem’s difficulty and its mix of languages and styles underscore Pound’s ambition to create a comprehensive, universal work of art.

3. "HUGH SELWYN MAUBERlLEY" (1920):

This collection is a pointed critique of contemporary society and the state of modern art. Through its satirical and critical lens, Hugh Selwyn Mauberley addresses the disillusionment with post-war culture and the decline of artistic and cultural values. The collection is known for its innovative form and sharp commentary, offering a stark critique of materialism and the commodification of art. Pound’s use of historical and literary references serves to highlight the contrast between the idealism of earlier artistic traditions and the perceived decline of contemporary culture. The work is an important reflection of Pound’s critical perspective on modern society and his commitment to artistic integrity.

4. "THE PISAN CANTOS" (1948):

Written during Pound’s imprisonment in the U.S., The Pisan Cantos represent a deeply personal and reflective phase of his work. The cantos are marked by a raw and intimate tone, reflecting Pound’s personal struggles and political disillusionment. The work incorporates elements of classical literature and personal experience, creating a complex tapestry of themes and emotions. The Pisan Cantos offer a glimpse into Pound’s state of mind during a period of intense personal and political upheaval, and they stand as a testament to his enduring creativity and resilience.

5. "CATHAY" (1915):

Cathay is a collection of translations and adaptations of Chinese poetry, based on the work of Ernest Fenollosa. This collection showcases Pound’s interest in non-Western literary traditions and his commitment to expanding the scope of modernist poetry. The translations are notable for their evocative imagery and their ability to capture the essence of classical Chinese poetry. Through Cathay, Pound introduces Western readers to the rich traditions of Chinese literature, demonstrating his belief in the universality of poetic expression and his dedication to bridging cultural divides.

6. "A DRAFT OF XXX CANTOS" (1930):

This section of The Cantos represents Pound’s continued experimentation with form and content. The work includes a series of cantos that explore themes of political and economic theory, reflecting Pound’s engagement with contemporary issues. The cantos are characterized by their use of historical and literary references, as well as their innovative structure. Through these works, Pound continues to develop his modernist techniques and his critique of modern society.

7. "LUSTRA" (1916):

Lustra is another important collection in Pound’s career, featuring a range of poems that reflect his ongoing experimentation with form and content. The collection includes works that explore themes of personal and cultural transformation, as well as innovative uses of language and imagery. Lustra is notable for its diverse styles and its reflection of Pound’s evolving literary vision. The collection represents a crucial period in Pound’s development as a modernist poet, showcasing his commitment to innovation and his exploration of new poetic forms.

PROSE:

1. "THE ABC OF READING" (1934):

The ABC of Reading is a seminal work in literary criticism, offering Pound’s insights into the art of writing and reading. The book advocates for clarity and precision in literature, critiquing contemporary trends that Pound saw as overly complex and obscure. Through its essays, The ABC of Reading provides a comprehensive overview of Pound’s literary philosophy, emphasizing the importance of effective communication and artistic integrity. The book is a critical reflection of Pound’s views on literature and his commitment to modernist principles.

2. "GAUDIER-BRZESKA" (1916):

In Gaudier-Brzeska, Pound explores the work of the French sculptor Henri Gaudier-Brzeska, highlighting his contributions to modernist art. The book reflects Pound’s deep engagement with contemporary artistic movements and his belief in the interconnectedness of different art forms. Through his analysis of Gaudier-Brzeska’s work, Pound offers insights into his own views on modernist aesthetics and the role of art in society. The book is an important part of Pound’s broader exploration of modernist art and its impact on literature.

3. "THE SPIRIT OF ROMANCE" (1910):

The Spirit of Romance is an early work of literary criticism that examines the development of romantic literature from its origins to contemporary practices. Pound’s analysis covers a wide range of literary traditions, including Italian, French, and English literature. The book reflects Pound’s deep knowledge of literary history and his commitment to understanding the evolution of literary forms. Through its critical examination of romantic literature, The Spirit of Romance offers valuable insights into Pound’s early literary theories and his engagement with literary traditions.

4. "MAKE IT NEW" (1934):

Make It New is a collection of essays that encapsulates Pound’s philosophy of modernist literature. The book covers a range of topics, including the role of the writer, the importance of historical context, and the need for artistic innovation. Through its essays, Make It New advocates for a modernist approach to literature that embraces experimentation and challenges traditional conventions. The book serves as a critical statement of Pound’s literary vision and his commitment to the modernist movement.

5. "A RETROSPECT" (1918):

A Retrospect is an important collection of essays in which Pound reflects on his literary career and the development of modernist poetry. The essays offer insights into Pound’s views on the evolution of literary styles and his contributions to the modernist movement. Through its critical reflections, A Retrospect provides valuable context for understanding Pound’s work and his influence on contemporary literature.

6. "LITERARY ESSAYS OF EZRA POUND" (1954):

This collection brings together a range of Pound’s critical writings, offering a comprehensive overview of his literary theories and critical perspectives. The essays cover a wide range of topics, including poetry, art, and literature, reflecting Pound’s engagement with contemporary literary and artistic debates. The collection serves as an important resource for understanding Pound’s contributions to literary criticism and his impact on modernist literature.

7. "THE SELECTED POEMS OF EZRA POUND" (1949):

This collection includes a curated selection of Pound’s most significant poems, offering readers a comprehensive overview of his poetic achievements. The selection highlights Pound’s innovative use of language and form, as well as his engagement with a wide range of themes and styles. Through its compilation of Pound’s work, the collection provides valuable insights into his contributions to modernist poetry and his influence on contemporary literature.

CONCLUSION:

Ezra Pound’s literary career represents a profound and complex journey through the landscape of modernist literature. His innovative approaches to poetry and prose reshaped literary traditions, while his controversial political beliefs have led to ongoing debates about his legacy. By examining Pound’s life, works, and the intersections of his personal and political beliefs, we gain a comprehensive understanding of his impact on literature and the challenges of evaluating his contributions in a broader cultural context. Pound’s work remains a powerful testament to the transformative potential of literature and a reminder of the complexities inherent in assessing the legacy of influential literary figures.