Pound, Ezra : Ezra (Loomis) Pound (1885-1972), American poet & critic.
... 201, 234 Planck, Max, 356 Plato, 1l7, 150, 211, 219, 326 Plotinus, 150, 361 Poland, 72, 127 Pole, the, 304 Polonius, 187 Pope, 212 Pound, Ezra, 192 Pragmatism, 326 Prithwiraj, 90 Prometheus, 234 Proteus, 274 Prussia, 88 Puranas, the, 71 Pythagoras, 150,211,219 QUANTUM MECHANICS ...
... Piper, Ravmond Frank 373 Plato 33,271 Plotinus33,326 Page 495 Pope, Alexander 33, 78,315,341,346,355, 410 Pound, Ezra 377, 384, 389, 392-394, 398, 402,414,447,460,461 Prince of Edur 47,51,52 Prothero, G.M. 7 Purani, A.B. 20,27,316,370, 371 Quiller-couch, Sir Arthur 377 ...
... -"Winter Night", 189n Pax Britannica, 250 Persia, 284 Philolaus, 131 Pilate, 4 Plato, 247-8, 275n., 279 Poetry, 196n., 207n Pondicherry, 228 Pope, 85 Pound, Ezra, 88 Pravahan, 22 Pythagoras, 30 RAKsHASAS, 159 Rama, 187 Ramayana, the, 235 Ramprasad, 218 Reformation, the, 273 Renaissance, the, 71, 239 Renard, Jean-Claude, 209 ...
... Pearson, N. Sri Aurobindo and the Soul Quest of Man (Allen & Unwin, London, 1952). Pinto, Vivian de Sola. Crisis in English Poetry : 1880-1940 (Hutchinson, London, 1951). Pound, Ezra. The Canto 1-84 (New Directions, New York). Section : Rock-Drill, 85-95 (New Directions, New York). Thrones : 96-109 (New Directions, New York, 1959). The ...
... whom Sri Aurobindo obviously admired, though with the necessary qualifications, he was doubtless also influenced as a practitioner of verse by the work of contemporaries like Yeats, Eliot and Ezra Pound. While the extent of the influence might not have been very appreciable, there can be no question about the reality of Sri Aurobindo's intelligent interest in contemporary English poetry. Passages... as examples of the new 'ametric poetry', and once, in 1946, in defence of his use of the French word 'flasque' in Savitri, he said that he had done it "somewhat after the manner of Eliot and Ezra Pound".' 3 Whether Sri Aurobindo had any close acquaintance with the Cantos it is difficult to say; but he certainly knew about this unique 'work in progress' in a general way, and any major poetic... Sri Aurobindo's preoccupation with Yoga led to his retirement from politics, and he spent the last forty years of his life in Pondicherry, in a sort of self-forged prison. Ezra Pound's open identification with politics during the Second World War led first to his isolation at Pisa and later to his relegation to St. Elizabeth's Hospital in Washington, D.C., on the recommendation of ...
... each remains distinct, although they are dosed together. In a modern poet, in Pound, or to a greater degree, in Eliot, the tragic and the comic, the serious and the flippant, the climax and the bathos are blended together, chemically fused, as part and parcel of a single whole. Take, for example, the lines from Ezra Pound quoted above, the obvious pun (Greek tin' or tina, meaning "some one"... others like and unlike. A modern artist when he creates, as he cannot but create himself, will have to embrace and express something of this peculiar cosmopolitanism or universalism of today. When Ezra bursts into a Greek hypostrophe or Eliot chants out a Vedic mantra in the very middle of King's English, we have before us the natural and inevitable expression of a fact in our consciousness. Even... the question is, has it succeeded? For here, as in everything else, nothing succeeds like success. Any theory may be as good as any other, but its test is only in the fait accompli. Neither Pound nor Eliot has that touch of finality and certainty, the definitiveness and authenticity beyond doubt, the Q.E.D. that a major and supreme creator imposes. Bottrall, a modernist poet himself ...
... Perhaps they will swim across with swimming belts and allow themselves to be arrested. SRI AUROBINDO: Swimming parties can't be arrested. This man Leavis is less partial to Ezra Pound than to Eliot. He says Pound's earlier poems are a preparation for later ones which have rhythm, form, etc., but have no substance. Have you found. wonderful rhythm? PURANI: None. Isn't that poem "O Apollo..... tin-wreath is wonderful! (Laughter) SRI AUROBINDO: Yes, it is in Greek tina; most idiotic it is. And he says it is a great pun; not a pun but most idiotic. PURANI: I told you Amal's joke that Pound is not worth the penny! (Laughter) SRI AUROBINDO: Among all these people only Eliot has done something. PURANI: Yes, though he has no form, he has substance. SRI AUROBINDO: Yes, and rhythm ...
... asked me to read the poems of Eliot. He was in ecstasy over them. I read them. I couldn't find anything there. Neither in Ezra Pound. I asked Amal's opinion. SRI AUROBINDO: What did he say? PURANI: He is of the same view. He cut a fine joke on Ezra Pound: "His name is Pound but he is not worth a penny." (laughter) SRI AUROBINDO: Eliot is the pioneer of modem poetry. I have not read much of ...
... phanopoeic in order to ensure its purity? The Symbolists would return an emphatic Yes. So would the school known as the Imagists. One of the founders of Imagism was the American-English poet Ezra Pound. Imagism is a revolt against the development of Romanticism into the vaguely and vastly emotional, the sense of at once the crepuscular and the cosmic, the mind twilight-blurry and tending to float... ching ming which Pound recommended and sought to practise as an indispensable mode of true poetry. In the eyes of Pound and his followers, "a poem is an image or a succession of images, and an Page 306 image is that which presents an intellectual or emotional complex in an instant of time." One or two examples of Imagist poetry may be offered. There is Pound's own well-known two-lined... would not quite conform to the pattern of syllable-distribution. It would be: Th' apparition Of these faces in th' crowd; Petals on a wet black bough. But, interestingly, Pound's little poem — Pound's penny of a poem, if we may put it punningly — has in part of its mood an affinity to the very first extant haiku of Japan, dating from the early thirteenth century — namely, of Fujiwara ...
... epic which has lately appeared, twenty-one years after its first publication in Greek, in an English translation by Kimon Friar. It is a natural, even a logical, transition from the Cantos of Ezra Pound to the modern Odyssey of Nikos Kazantzakis. Page 395 ...
... hold all the three types of poetic phrase. I shall borrow it from the Anglo-American modernist poet Ezra Pound. I believe Pound was in a mental home — but not because he was a poet. Poets are already mad in a special way — they cannot go mad in the ordinary manner: it must be the non-poetic avatar of Pound that qualified for the mental home. Anyway, his classification of poetry which I am about to adopt... adopt hails from his early days when his was only the poetic madness which is well known from ancient times — the furor poeticus, as the Romans characterised it. Pound offers us the three heads: Melopoeia, Phanopoeia, Logo- Page 129 poeia. The first term is easily seen as the Greek for "Song-making", the third as the Greek for "Word-making". The second looks somewhat obscure... 1915 as a reaction against the vague emotional poeticism of the late-Victorian age and insisted on poetry with a clear outline and a hard core, generally one image set forth in objective language. Pound himself was among the leaders of this school and took it to be the best practitioner of image-making. We should not restrict our notion by his .early penchant. Broadly speaking, all poetry is ...
... EZRA POUND'S CLASSIFICATION OF POETRY * EXAMPLES FROM SAVITRI We have divided, à la Patmore, the poetic phrase into the piquant, the felicitous, the magnificent. Now we may make another kind of division—three classes, each of which can hold all the three Patmorean types. I shall borrow it from the Anglo-American modernist poet Ezra Pound. I believe Pound is at present... mad in the ordinary manner: it must be the non-poetic avatar of Pound that has qualified for the mental home. Anyway, his classification of poetry which I am about to adopt hails from his early days when his was only the poetic madness which is well known from ancient times—the furor poeticus, as the Romans characterised it. Pound offers us the three heads: Melopoeia, Phanopoeia, Logopoeia. The... sculpture. Logopoeia is the poetic play essentially of ideas: it employs words principally for their meaning: as Pound puts it, "it is the dance of the intellect among words"—it is the con-ceptive word as distinguished from the musical or the pictorial-sculpturesque. But I should like to stress Pound's characterisation of it as "dance". For, unless it has rhythm and harmony, posture and gesture along with ...
... Dante, the symphonic blank verse of Milton, the crystalline iambic pentameter of Savitri, all play no mean part in charging these great epics with life and movement and a rounded significance. Ezra Pound makes an important point when he writes: When we know more of overtones we shall see that the tempo of every masterpiece is absolute, and is exactly set by some further law of ...
... effeminate, Virgil never lacked — yet his spell of music was so creative that hardly any great poet since but has fallen under it. We moderns, even when free from the paroxysmal influence of our Ezra Pounds and keeping our senses sweet with the old sober ecstasies, may imagine ourselves independent of it since we do not require to worship him, having Shelley and Keats as our first guiding stars; but ...
... Savitri by yet another road, passing on the way the two formidable milestones, the Cantos of Ezra Pound and Kazantzakis' 'modern sequel' to the Odyssey. The modern American- Page 457 European, the modern Cretan-Greek, the modern Hindu with an English education: all three poets—Pound, Kazantzakis and Sri Aurobindo—are masters of many languages and heirs to more than one cultural ...
... 11. From Virgil to Milton, p. 15. 12. Ezra Pound, The Spirit of Romance, p. 127. 13. Dante's Other World, p. 73. 14. Possibility, p. 27. 15. The Figure of Beatrice, p. 195. 16. The Lusiads (The Penguin Translation), pp. 40-1. 17. ibid., Introduction, p. 26. Ezra Pound, however, savs that the real weakness of the poem is that... that Mr.W.B. Stanford should make no reference whatsoever to the Cantos in his otherwise exhaustive study, The Ulysses Theme (1954). 45. The Poetry of Ezra Pound,p.317. 46. G. S. Fraser, in his Ezra Pound (I960), compares the pattern of the Cantos with that of The Divine Comedy, The Pisan Cantos being "a kind of Purgatorio" (p. 70). 47. Canto LXXXVII. ... World, pp. 62-3. 27. Bernard Blackstone, The Consecrated Urn, p. 134; see also Charles Williams, The Figure of Beatrice, p. 56, Wellek & Warren, Theory of Literature, p.196, and Ezra Pound, The Spirit of Romance, p. 127. 28. On the Veda, pp. 8-9. 29. ibid, pp. 277-8 30. ibid., p. 11 31. Savitri p. 275-6, See also A.B. Purani , Savitri: ...
... "done a Dante" and made of his Savitri another Commedia ? Before attempting to answer this very, very difficult question, let me preface my remarks with the following obiter dicta by Ezra Pound: Any sincere criticism of the highest poetry must resolve itself into a sort of profession of faith. The critic must begin with a 'credo', and his opinion will be received in ...
... performing no useful function, and, Ezra concluded, 'at the end we had just two-and-a-half lines left'. Since then I have gone through my poems word by word weighing each word and removing those with wrong resonances - like 'shroud' in 'meadow -shroud' or 'dawn-pure' or Titaned night' and it's a pity Sri Aurobindo didn't have Pound to advise him. I would pass on Pound's wise words to young Indian poets... disregard of words characterises Sri Aurobindo's use of the English language, and seems to be a blind-spot in your reading of him. Perhaps the best advice I ever received as a young poet was from Ezra Pound, on my one meeting with him - in St. Elizabeth's mental hospital, outside Washington DC while he was still confined there - as I went up to him, he started on poetry straight away, saying he'd been... the chastely lucid which the economy of Crashaw presented we are offered the passionately complex by a verbal lavishness which makes imaginative poetry of the highest order. I don't know what Ezra Pound would have done with Hopkins's language. What he taught you was certainly worth learning. His pruning hand became rightly famous by the catching shape of novelty it gave to Eliot's Waste Land. ...
... shy of using alien tools. Of these, the one advocated by Ezra Pound seems to have captured his heart. Pound's classification of melopoeia, phanopoeia and logopoeia, by which he means "song-making", "image-making", and "word-making", enables Sethna to discuss the striking features of the works of numerous European poets. A fusion of Pound's concept with Sri Aurobindo's ideas on the nature of poetry ...
... though written in prose, make a total impact that is not unlike the impact of epics on us. And what is one to say about a phenomenon like Goethe's Faust or Hardy's The Dynasts} The Cantos of Ezra Pound sets a similar problem: is it an epic, too, an epic still in progress? And we have, above all, Nikos Kazantzakis' colossal epic The Odyssey: A Modern Sequel 8 and Sri Aurobindo's Savitri. ...
... the poets of the past, comes closest to Sri Aurobindo, and I found the essays on Dante by T.S. Eliot and Allen Tate the most illuminating, though Charles Williams is very good too. Of the moderns, Ezra Pound and Nikos Kazantzakis challenge comparison with Sri Aurobindo as epic poets. I have therefore made an attempt to see both the Cantos and The Odyssey: A Modern Sequel, in relation to Savitri ...
... from Madhusudan, and from Rabindranath as well. Bengali verse has enlarged its scope to a surprising degree; in variety as in scope it has grown almost immeasurably. But that is another story. Ezra Pound has made an astonishing remark on this question of poetic rhythm. He says that the rhythm or music of poetry is beyond the realm of words and their meaning; it has an existence quite apart and almost ...
... l states. Goethe, Wordsworth, Stendhal represented a mentality and initiated a movement which led logically to the age of Hardy, Housman and Bridges and in the end to that of Lawrence and Joyce, Ezra Pound and Eliot and Auden. On the Continent we can consider Flaubert as the last of the classicists married to the very quintessence of Romanticism. A hard, self-regarding, self-critical mentality, a cold ...
... there is sight's sound, there is also sound's sight. And when "Le Musicien de Silence" becomes one with "Le Musicien de Page 144 Son" we have an unsurpassable marvel. Listen to Ezra Pound: "When we know more of overtones we shall see that the tempo of every masterpiece is absolute, and is exactly set by some further law of rhythmic accord. Whence it should be possible to show that ...
... states. Goethe, Wordsworth, Stendhal represented a mentality and initiated a movement which led logically to the age of Hardy, Housman and Bridges and in the end to that of Lawrence and Joyce, Ezra Pound and Eliot and Auden. On the Continent we can consider Flaubert as the last of the classicists married to the. very quintessence of Romanticism. A hard, self-regarding, self-critical mentality, a ...
... at once, and one is often burdened by preconceived notions of what is proper. If when facing a swan we start looking for a duck we shall only pronounce it an ugly duckling! Poetic appreciation, as Ezra Pound has reminded us, is a sort of profession of faith; but, of course, the 'profession' itself is preceded by a genuine first response to the poem, and should be followed by a patient examination of ...
... word meaning 'slack', 'loose', 'flaccid', etc. I have more than once tried to thrust in a French word like this, for instance,'A harlot empress in a bouge'—somewhat after the manner of Eliot and Ezra Pound. Now that Savitri has been mentioned we may dip into it with the very passage to which Sri Aurobindo here refers. It is about an occult dimension explored by Savitri's father Aswanathv: ...
... unexpected double entendre and at least mutilate the noble theme even if in spite of his modern predilections he is still a true poet. I can more Page 56 or less conceive what some Ezra Pound gifted with no negligible force and subtlety would do. Most probably he would resort to a pyrotechnic display of cross-light imagery in treating the fast-fading sacred atmosphere of Wordsworth's ...
... It sounds more like a well-rounded rhythmic thought than an intimately felt experience with its richnesses taking us on those journeys. In it the subtleties of silence are absent. In terms of Ezra Pound's rhythmic accord we do not have here overtones to set the absolute tempo of a masterpiece. If that journey has to be a soaring ascension to the snow-white peaks of silence in the ardour of climbing... also sound and silence; if there is sight's sound, there is also sound's sight. And when le Musicien de Silence becomes one with le Musicien de Son we have an unsurpassable marvel. Listen to Ezra Pound: "When we know more of overtones we shall see that the tempo of every masterpiece is absolute, and is exactly set by some further law of rhythmic accord. Whence it should be possible to show that ...
... at the same time apt figures in a poetry dealing with little known spiritual and mystic topics. And here lies also the difference between that group of modem English poets headed by T.S. Eliot, Ezra Pound and others on one side and Sri Aurobindo on the other. Those English poets as well as Sri Aurobindo use 74 p. 37. 75 p. 259. 76 p. 242. 77 p. 204. Page 371 ...
... word meaning "slack", "loose", "flaccid" etc. I have more than once tried to thrust in a French word like this, for instance, "A harlot empress in a bouge"—somewhat after the manner of Eliot and Ezra Pound. 1946 Page 305 To unify their task, excluding life Which cannot bear the nakedness of the Vast, [ p. 273 ] I suppose the intransitive use of "unify" is not illegitimate, ...
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