| T O P I C R E V I E W |
| Bean |
Posted - February 17 2004 : 11:32:07 PM
" and Ezra Pound and T.S. Elliot fighting in the captains tower "
One Smart Modern writer I'll keep...
Pound’s poetics had a profound influence on both the poets and readers of his generation. He was a primary proponent of other modernist writers, including Yeats (who served as a model for him), & Eliot (with whom he edited “The Waste Land”),
" A second approach that Pound took to poetry, early in his career, was the use of masks or personae (Personae is the title he gave to his collection of shorter poems). Rather than the poem representing the voice of the author, as in much lyric poetry, the speaker in Pound’s persona poems is a made-up character with whom Pound did not completely identify. This allowed Pound to be satiric, even sarcastic, not only about the subject of the poems but about their speaker, although he sometimes appears to share the sentiments of the poem’s persona, making for an interesting ambiguity. " ...sound like anybody we know?
"Pound was interested in an opaque texture for the poem; he once commented that if you didn’t understand something you should just push on. In the later Cantos, Pound organized the words spatially on the page, decisively breaking with the flush left orientation of much Western poetry up until that time, though following the lead of Stephane Mallarmé’s Un Coup de Dés. The result is a poem of immense sweep, often gorgeous lyricism, with a sometimes baffling range of references and many infuriatingly didactic passages. For this poetry of ideas, Pound maximized discontinuity, what some would call fragmentation. At the same time, he tried to maintain strong authorial control over the intended meaning to be derived from the juxtaposition of what he called “luminous details.”
The Titanic Sails at dawn from Desolation Row.
I'm Your Captain Bean |
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