Comment 8 of 18, added on March 24th, 2008 at 3:16 AM.
better if we will be able to read canto 2 immediately. i m in search of
misaki from India
Comment 7 of 18, added on April 24th, 2007 at 2:00 PM.
i love this so much it is beautiful work u have done here!!!!! ill give u 2
kisses and an apple for that performance!!
from United States
Comment 6 of 18, added on November 26th, 2005 at 6:14 PM.
AHHHHHH...this poem is probably one of the hardest i've had to
read...harder than Eliot!...i'm supposed to do a short (really short)
anaylsis of it and i can't get it...what is he writing about...or is it
just the obvious retelling of Homer?
jess from United States
Comment 5 of 18, added on June 30th, 2005 at 12:02 AM.
I'm not sure what this problem with appreciation of Pound's language is but
perhaps what matt refers to are the lines which start 'Lie quiet Divus'
where narration abruptly shifts from the fragment of Odyssey to a direct
address to one of Renaissance translators of Homer, afterwards, the
narration (changing the narrator) shifts back to Odysseus, then to
Aphrodite and then, there is this famous 'So that' at the end, which, it is
believed was borrowed from 'Sordello' by Robert Browning. This peculiar
non-traditional structure of communication is the effect of application of
the ideogrammatic method, i.e. Pound communicates the meaning trying to
avoid direct naming the object of communication but 'giving it to
understand' in the way he believed Chinese ideograms communicate their
contents, indirectly, suggesting their meaning by the fact of selecting
given objects - Pound gives an example of what he means in 'ABC of Reading'
where he juxtaposes the Western communique of the colour = red; with a
hypothetical Chinese ideogram structure suggesting the meaning through
collection of ideograms of 'rose' 'rust' 'cherry' 'flamingo' in one
ideogram, thus, on one hand, avoiding naming the colour red, and on the
other, giving it to understand. To cut it short, Pound wants to prevent his
communique from becoming 'pseudeto' and become 'aletheia' speaking through
'unhiding'. I do not want to continue further because I do not know whether
I might not be telling things that are already known - if you would specify
the question, I might perhaps be of better service.
Comment 4 of 18, added on June 13th, 2005 at 7:17 AM.
I'm trying to study ezra for a project and i cannot grasp his language in
the poems. You all talk about how amazing it it but i just dont get it!
what is he talking about?
matt from United States
Comment 3 of 18, added on August 27th, 2004 at 6:18 PM.
I think this is one of Pound's greatest; I think his arrangement is one
that trys to mimic the same sentence sequence that it may have sounded in
the original Greek. The flow of the language is very unusual: it mimics a
"backwards" effect that to me, brings one back in time. He even make a
reference in the poem "the ocean flowing backwards", its like a whirlpool
taking you back through the ages.
Ian G. Morris
Comment 2 of 18, added on August 24th, 2004 at 2:48 PM.
At home I have got "Ezra Pound- selected cantos" ed. Faber&Faber, London.
There Crice is called "Circe" and I think that is what Homer and Pound
meant to write.
For Christian Leng (first comment) I must say Ezra was a Jewish prophet,
and also the 15th book in the Old Testament, thus surely no woman!!
Comment 1 of 18, added on August 18th, 2004 at 9:00 PM.
I really enjoyed the poem. Fantastic use of language. I had no idea Pound
was a modernist; I only know of him through reading T.S. Eliot all summer.
However, in all my reading, I never thought Pound was a man. For some
reason I thought pound was a woman; Ezra sounds more of a woman's name.
The bottom line is the poem is excellent: Extremely beautiful is the
rating I give it.
Christian A. Leng
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