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Books : Literature & Fiction : Authors, A-Z : ( P ) : Pound, Ezra
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1st paper edtn, incl English tr of Canto LXXII
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Poetic visionary Ezra Pound catalyzed American literature's modernist revolution. From the swirling center of poetic change he excited the powerful energies of Eliot, Joyce, and William Carlos Williams and championed the Imagism and Vorticism movements. This volume, the most comprehensive collection of his poetry and translations ever assembled, gathers all his verse except The Cantos. In addition to the famous poems that transformed modern literature, it features dozens of rare and out-of-print pieces, such as the handmade first collection Hilda's Book (1905-1907), late translations of Horace, rare sheet music translations, and works from a 1917 "lost" manuscript.
Pound's influential Cathay (1915), Lustra (1917), and Hugh Selwyn Mauberley (1920)-as surely as his later masterly Confucian odes and Sophoclean dramas-followed the poet's own directive to "make it new," opening fresh formal pathways into ancient traditions. Through these works and others representing more than 30 different volumes and dozens of pieces that Pound never collected, Poems and Translations reveals the breadth of his daring invention and resonant music: lyrics echoing the Troubadors and Browning, chiseled 1920s free verse, and dazzling translations that led Eliot to call Pound "the inventor of Chinese poetry for our time."
An extensive chronology offers guidance to Pound's tumultuous life. Detailed endnotes of unprecedented range and depth clarify Pound's fascinatingly recondite allusions.
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Pound, Literary Essays.
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Modern American poets translate classical Chinese poetry.The New Directions Anthology of Classical Chinese Poetry is a rich compendium of translations like no other. It is the first to look at Chinese poetry through its enormous influence on American poetry, starting with Ezra Pound's Cathay (1915), and including translations by three other major US poets (William Carlos Williams, Kenneth Rexroth, Gary Snyder) and an important poet-translator-scholar (David Hinton), all of whom have long been associated with New Directions. Moreover, it is the first general anthology ever to consider the process of translation by presenting different versions of the same poem by various translators, as well as examples of the translators rewriting themselves. The collection, at once playful and instructive, serves as an excellent introduction to the art and tradition of Chinese poetry, gathering some 250 poems by nearly 40 poets, from the anonymous early poetry through the great masters of the T'ang and Sung dynasties. The anthology also includes previously uncollected translations by Pound, a selection of essays on Chinese poetry by all five translators, some never published before in book form, and biographical notes that are a collage of poems and comments by both the American translators and the Chinese poets themselves.
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Known for his delicate perception as well as his passionate opinions, Ezra Pound published this, his first collection of poetry, in 1926. Pound was as much a diviner as he was a poet, and his writing is as much observation and experience as it is prophecy. He was especially drawn to beauty and his writing extols the magnificence of profound emotion and the beguiling wonderment of intellect. From translations and reconstructions of pieces of ancient literature to his own postulations on art, love, and life, this is a worthy addition to any personal library.
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Although the troubadours flourished at the height of the Middle Ages in southern France, their songs of romantic love, with pleasing melodies and intricate stanzaic patterns, have inspired poets and song writers ever since, from Dante to Chaucer, from Renaissance sonneteers to the Romantics, and from Verlaine and Rimbaud to modern rock lyricists. Yet despite the incontrovertible influence of the troubadours on the development of both poetry and music in the West, there existed no comprehensive anthology of troubadour lyrics that respected the verse form of the originals until now.
Lark in the Morning honors the meter, word play, punning, and sound effects in the troubadours' works while celebrating the often playful, bawdy, and biting nature of the material. Here, Robert Kehew augments his own verse translations with those of two seminal twentieth-century poets—Ezra Pound and W. D. Snodgrass—to provide a collection that captures both the poetic pyrotechnics of the original verse and the astonishing variety of troubadour voices. This bilingual edition contains an introduction to the three major periods of the troubadours—their beginning, rise, and decline—as well as headnotes that briefly put each poet in context. Lark in the Morning will become an essential collection for those interested in learning about and teaching the origins of Western vernacular poetry.
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Ezra Pound's inspirational sway over twentieth century poetry remains unquestioned to this day. Ezra Pound Reads offers a rare opportunity to witness the vision of this awe-inspiring, intensely polemical artist.
The Cantos were Pound's most ambitious poetic project. He began writing this series of poems in 1913 and continued to work on them until his death. These complex and lyrical incantations explore the writer's disappointment in the imperfections of man. his hatred of war and commercialism, and his ongoing interest in economic concerns.
Pound's ideas and searing vision are beautifully showcased in this audio, portions of which were recorded at St. Elizabeth's Hospital in Washington, D.C, where, Pound was as held after lie was accused of treason, but judged not to be of sound mind to stand trial.
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Written in 1910 when Pound was only 25 years old, and later revised by the author, this critical work has long stood as an important stage in the development of Pound's poetics, and a dramatic revaluation of Europe's literary tradition. Pound surveys the course of literature from the fall of the Roman Empire through the dawn of the Renaissance, paying special attention to the Provençal poets and to Dante. Now with an introduction by Richard Sieburth, this work illuminates a great period in European literature and one of America's greatest poetic minds.
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New compilation of 70 early poems from the founder of the Imagist movement and one of America's most influential and controversial poets. Among them are poems from Personae (1909), Exultations (1909) and Ripostes (1912), including a number not found in other anthologies; "Cathay" from Lustra (1916); and selections from the major poem, Hugh Selwyn Mauberley (1920).
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This important and much-disputed essay edited by Ezra Pound from the manuscript of Ernest Fenollosa (and published in Instigations, London, 1920) has since gone through several editions, despite the ridicule of such sinologists as Professor George Kennedy of Yale, who called it "a small mass of confusion.
The old theory as to the nature of the Chinese written character (which Pound and Fenollosa followed) is that the written character is ideogrammic-a stylized picture of the thing or concept it represents. The opposing theory (which prevails today among scholars) is that the character may have had pictorial origins in prehistoric times but that these origins have been obscured in all but a few very simple cases, and that in any case native writers don't have the original pictorial meaning in mind as they write.
Whether Pound proceeded on false premises remains an academic question. Let the pedants rave. An important extension of imagist technique in poetry was gained by Pound's perception of the essentially poetic nature of the Chinese character as it is still written.
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At last, a definitive, paperback edition of Ezra Pound's finest work.Ezra Pound's The Pisan Cantos was written in 1945, while the poet was being held in an American military detention center near Pisa, Italy, as a result of his pro-Fascist wartime broadcasts to America on Radio Rome. Imprisoned for some weeks in a wire cage open to the elements, Pound suffered a nervous collapse from the physical and emotional strain. Out of the agony of his own inferno came the eleven cantos that became the sixth book of his modernist epic, The Cantos, themselves conceived as a Divine Comedy for our time.
The Pisan Cantos were published in 1948 by New Directions and in the following year were awarded the Bollingen Prize for poetry by the Library of Congress. The honor came amid violent controversy, for the dark cloud of treason still hung over Pound, incarcerated in St. Elizabeths Hospital for the Criminally Insane. Yet there is no doubt that The Pisan Cantos displays some of his finest and most affecting writing, marking an elegaic turn to the personal while synthesizing the philosophical and economic political themes of his previous cantos. They are now being published for the first time as a separate paperback, in a fully annotated edition prepared by Richard Sieburth, who also contributes a thoroughgoing introduction, making Pound's master-work fully accessible to students and general readers.
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Among his fellow modernists, Ezra Pound inspired equal parts admiration and contempt. T.S. Eliot called him "il miglior fabbro" and dedicated "The Waste Land" to him after Pound had surgically stripped down the masterwork. Gertrude Stein, on the other hand, mocked his obsession with "Kulchur" and his pedagogical need to insert his versions of history, thought, economics, and morality into the Cantos. Pound was, she punched, "a village explainer, excellent if you are a village, but if you are not, not."Turning to the poems affords illumination, though not resolution. The complete Cantos number 117, weigh in at more than 800 pages, and require several companion volumes of exegesis, filled as they are with private matters and forgotten, obscure souls and associations. Selected Cantos, 117 pages in all, contains what Pound called his "beauty spots": evocations of his heroes (from Chinese emperors to the Founding Fathers), cameos and critiques of his contemporaries (Yeats admiring the symbol of Notre Dame more than Notre Dame itself), and scabrous, unbeautiful visions of politicians, war profiteers, and "the perverts, the perverters of language" in hell. A signal irony is that the poet whose goal was to "make it new" is often freshest in his evocations and imitations of the past.
The greatest sequence is, however, "The Pisan Cantos". In 1945, following his pro-fascist Italian radio broadcasts, Pound was imprisoned by the American military. The art that emerged out of desperation, particularly Canto LXXXI, is a litany of nostalgia, pain, and delusion. Pound for once casts a sharp eye (usually reserved for others) on his personal and artistic failings: "Pull down thy vanity / How mean thy hates / Fostered in falsity ..." But even this section is troubling. In the end, the village explainer could explain little.
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Over 180 masterpieces appear in this tribute to one of the 20th century’s most radical poetic movements. Imagist gems in this definitive collection include works by Ezra Pound, D. H. Lawrence, H. D. (Hilda Doolittle), James Joyce, Wallace Stevens, William Carlos Williams, and many others.
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