Ezra Pound

Portrait of Ezra Pound
Ezra Pound 1885–1972
1885Born

Ezra Pound is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway and especially T. S. Eliot. His own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry - stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, "compose in the sequence of the musical phrase, not in the sequence of the metronome." His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos.

Ezra Pound was born in Hailey, Idaho, in 1885. He completed two years of college at the University of Pennsylvania and earned a degree from Hamilton College in 1905. After teaching at Wabash College for two years, he travelled abroad to Spain, Italy and London, where, as the literary executor of the scholar Ernest Fenellosa, he became interested in Japanese and Chinese poetry. He married Dorothy Shakespear in 1914 and became London editor of the Little Review in 1917. In 1924, he moved to Italy; during this period of voluntary exile, Pound became involved in Fascist politics, and did not return to the United States until 1945, when he was arrested on charges of treason for broadcasting Fascist propaganda by radio to the United States during the Second World War. In 1946, he was acquitted, but declared mentally ill and committed to St. Elizabeth's Hospital in Washington, D.C. During his confinement, the jury of the Bollingen-Library of Congress Award (which included a number of the most eminent writers of the time) decided to overlook Pound's political career in the interest of recognizing his poetic achievements, and awarded him the prize for the Pisan Cantos (1948). After continuous appeals from writers won his release from the hospital in 1958, Pound returned to Italy and settled in Venice, where he died, a semi-recluse, in 1972.

Reading closely

Analyses

A full analysis sits under 10 of these poems: what each poem says, how it is built and how readers here have read it. About the analyses

  • A GirlA body turning into a tree, a voice naming the girl, and the world calling it folly
  • An ImmoralityLove and idleness preferred to heroic glory, and why the title calls that an immorality
  • The GardenA bored, fading rich woman in Kensington Gardens beside the tough children of the poor
  • MeditatioA mock-logical proof that man is superior to dogs, undone by a look at man
  • The River-Merchant's Wife: A LetterA young wife's letter tracing love from childhood to separation, and her hope of reunion
  • And the days are not full enoughDays and nights that fall short, and a life that passes like a mouse through grass
  • Canto IA voyage to the dead, Elpenor's plea, Tiresias's prophecy and a story that breaks off
  • Ballad of the Goodly FereChrist as a brave, sea-loving comrade whose follower says death did not hold him
  • The Bath-TubCooling passion compared to a bathtub going cold, and a lady praised with reservations

From readers

What readers say about Ezra Pound

  1. On An Immorality

    “Love is certainly an element of the poem, but I think the themes here are complicated (or at least extended) by the inclusion of "idleness" in that first line. The poem seems to say that love AND idleness are worth having-- I interpret this paradoxically desirable "idleness" as a world without…”

  2. On Song in the Manner of Housman

    “I think the "Woe! woe, etcetera" is a satiric twist on the fact that we think it so sad when someone dies, but we go on grieving long after we really care, and our grieving rituals become more of a habit (etcetera) than an actual meaningful act.”

  3. On Historion

    “I understand this as it follows: The work of "all men great..the masters of the soul, LIVE ON"! The tradition always projects itself on the new. "The 'I'", the individuality of the poet is marked by his new view point, but also by the work of the previous....”

  4. On Fan-Piece, For Her Imperial Lord

    “O fan of white silk, clear as frost on the grass-blade, You also are laid aside. A dashing, swaggering, or jaunty young man: a gay blade from the nearby city. 9. a swordsman. 10. Phonetics . a. the foremost and most readily flexible portion of the tongue, including the tip and implying the upper…”

  5. On In A Station Of The Metro

    “Pound cleverly states where the poem is taking place. The meaning I take from the poem is a deep one. “The apparition of these faces in the crowd;” perhaps he is simply stating as we walk the earth or in this case a bus station we don’t pay attention. Most people keep to themselves in a bus station…”

  6. On A Girl

    “Methinks the girl in question is Ezra's daughter. When she enters his hands, she has been delivered to him (birthed). She becomes a part of him. "So high you are" implies that Ezra reveres the girl. The folly is about how he thinks no one in the world could understand the relationship betweeen him…”

Where readers gather

Most discussed

  1. In A Station Of The Metro60 comments
  2. A Girl47 comments
  3. An Immorality21 comments
  4. The Garden19 comments
  5. Meditatio17 comments
  6. The River-Merchant's Wife: A Letter16 comments
  7. And the days are not full enough15 comments
  8. No. 1Canto I14 comments
  9. Ballad of the Goodly Fere11 comments
  10. The Bath-Tub11 comments

All 73 poems

Lustra · 1916 · 1 poem
Cover of Lustra
First edition, Elkin Mathews, London, 1916
The Cantos · 3 poems
  1. 1Canto I193014
  2. 13Canto XIII19306
  3. 49Canto XLIX19351
Other poems · 69