And, just 20 months later, "The image. Rutgers University Press p. The "vision of the blossom," which we now understand to be an apparition of the dead, is described here by Pound as "an untranslatable poem. Be patient, test the ear and eye: If it succeeds, it must make up in intensity for what it lacks in duration.
What are the visual images, the sensory associations that come up as you read this poem? The Japanese have evolved the still shorter form of the hokku.
Inhe was acquitted, but declared mentally ill and committed to St.
Sunshine, sound, and the south accent one, rain and silence the other; the earlier is expansive and cohesive, the latter composed of two terse figurations. Davie rises to another level of ingenuity with the idea that the two lines deliberately transpose technical strategies, making the poem be about its own technique.
In his view, words can express anything, even, as in the case of this poem, if it takes an entire year to find the right words. It seems to me that this alteration makes the relationship between the two lines appreciably more subtle and suggestive than was previously the case: Fusions of Native and American Poetry, It is the presentation of such complex instantaneity that gives a sudden sense of liberation that we experience in the presence of the greatest works of art.
It is the intellectual part pointing to the continuity of life.
A point is being made here. The fine points are crucial. It is one of the monuments of the artistic movement known as "Imagism," one of the many, many "-isms" that came and went at the beginning of the 20th century.
An instantaneous intellectual and emotional complex. Following what Pound calls "the impasse in which I had been left by my metro emotion" GB 89he writes a series of drafts of the poem, each more condensed than the previous one.
Pound called it an equation, meaning not a redundancy, a equals a, but a generalization of unexpected exactness. The apparition of these faces in the crowd Petals, on a wet, black bough. The buried off rhyme between "i-tion" and "fac-es," set against the compact density of "crowd," complicates and gives texture to the lines, all the while remaining relatively ordinary in setting, language, and technique.
They think only "the shells of thought," as de Gourmont calls them; the thoughts that have been already thought out by others Any mind that is worth calling a mind must have needs beyond the existing categories of language, just as a painter must have pigments or shades more numerous than the existing names of the colours.
These phrasings cadence minums, countering formal inclinations close-up with longer-range idiomatic patterns; and this cadencing leads quickly to a third variable, structure, in what versifiers call the poetic line or sentence to a prose writer.Ralph Bevilaqua.
Recent critics, commenting on Ezra Pound's "In a Station of the Metro," have invariably referred to the connotative power of the word apparition in the first line of that mi-centre.comingly, one critic has called it "the single word which lifts the couplet from bald statement to poetry.".
Ezra Pound's fourteen-word poem is an iconic Imagist text. "The apparition of these faces in the crowd; / Petals on a wet, black bough.". Of all the major literary figures in the twentieth century, Ezra Pound has been one of the most controversial; he has also been one of modern poetry's most important contributors.
Summary of "In a Station of the Metro" of the poem In a Station of the Metro. Line-by-line analysis. In a Station of the Metro by Ezra Pound.
Home / Poetry / In a Station of the Metro / Summary / The poet is watching faces appear in a crowded metro (subway) station. In a Station of the Metro by Ezra Pound. In a Station of the Metro Learning Guide by PhD students from Stanford, Harvard, Berkeley.
Louis Untermeyer, ed. (–). Modern American Poetry.
Ezra Pound. – In a Station of the Metro.Download