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1、Ezra Pound,（1885-1972）,Chronology,born in Hailey, Idaho family moved to Philadelphia family settled into their long-term residence in Pennsylvania Pound enrolled in Wyncote Public School Pound transfers to Cheltenham Military Academy,Chronology,Aunt Frank Weston takes Pound and his mother to Europe，
2、visiting Gilbralter, Tunisia and Venice, later recalled in the Cantos. Enters University of Pennsylvania where in his second year he meets William Carlos Williams，a medical student. Also meets Hilda Doolittle (H.D.) whose father teaches astronomy at the university. With H.D., founds the new Imagist
3、school.,Chronology,Works as Yeats secretary for the first of three winters at Stone Cottage. marries Dorothy Shakespear and moves to Kensington. With Wyndham Lewis develops the Vorticist movement. In Paris, meets the American-born concert violinist Olga Rudge, who is now mainly remembered as Pounds
4、long-term mistress, by whom she had a daughter, Mary.,Chronology,meets Mussolini in Rome.Mussolini declares war and invades Abyssinia (referred to the Ethiopian Empire that consisted of modern Ethiopia and Eritrea). Begins regular radio broadcasts on shortwave from Rome to America and to American tr
5、oops in support, he claims, of the US Constitution. They are highly critical of Roosevelt and the war effort, as well as antisemitic (hostility to or prejudice against Jews).,Imagism,Imagism was a poetic vogue that flourished in England, and even more vigorously in America, between the years 1912 an
6、d 1917. It was planned and exemplified by a group of English and American writers in London, partly under the influence of the poetic theory of T.E. Hulme, as a revolt against what Ezra Pound called the “rather blurry, messy sentimentalistic mannerish” poetry at the turn of the century. (Cf. Survey,
7、 159),Olga Rudge (1895 1996),Though talented as a violinist, her considerable talents and reputation were eventually eclipsed by those of her lover, in whose shade she appeared content to remain.,Olga Rudge, circus 1915,“A Pact”,The famous opening carries over the note of specious exasperation from
8、1909. But the poem makes an interesting and unanticipated tonal shift.,“A Pact”,The breaking of the “new wood ” must be referred to the revolution that is Whitmans prosody (the patterns of rhythm). “Pigheadedness” stands for Whitmans lack of refinement, whereas Pound is “a Walt Whitman who has learn
9、ed to wear a collar and a dress shirt”.,长干行李白,妾发初覆额，折花门前剧。 郎骑竹马来，绕床弄青梅。 同居长干里，两小无嫌猜。 十四为君妇，羞颜未尝开。 低头向暗壁，千唤不一回。,【长干】古金陵里 巷名 【剧】游戏,长干行（续）,十五始展眉，愿同尘与灰。 常存抱柱信，岂上望夫台。 十六君远行，瞿塘滟滪堆。,【抱柱】庄子杂篇盗跖“尾生与女子期于梁下，女子不来，水至不去，抱梁柱而死”,长干行（续）,五月不可触，猿声天上哀。 门前迟行迹，一一生绿苔。 苔深不能扫，落叶秋风早。,长干行（续）,八月蝴蝶黄，双飞西园草。 感此伤妾心，坐愁红颜老。 早晚下三巴，预将
10、书报家。 相迎不道远，直至长风沙。,【三巴】巴东、巴郡、 巴西 【长风沙】在今安徽安庆东长江边上,Hugh Selwyn Mauberley I,“Ezra Pounds Ode on the Choice of His Tomb”; in sections I and II, Pound writes about himself as he feels he must have appeared to the London literary world of the first decades of the century: wrong-headed, obstinate, a litera
11、ry failure“Wrong from the start-” Pound ironically regarded as a kind of poetic Luther Burbank (the expert on plants), but a Burbank silly enough to believe that he could breed lilies from acrons a prince in the Greek myth of the Seven again Thebes, regarded a type of arrogance and overweening pride
12、,Hugh Selwyn Mauberley I,from the Odyssey: “for we know all the things that (are) in Troy,” a fragment of the song of the Sirens who tried to tempt the vessel of Odysseus (Ulysses) onto the rocks; Odysseus, returning from Troy, was trying to get home to Ithaca and his faithful wife, Penelope; Pound
13、is also a voyager, but his goal is Gustave Flaubert, the great nineteenth-century French novelist; Flaubert stood for perfection in his art, but he also insisted on exposing the shams of the age in which he lived an enchantress who also tried to detain Odysseus sun-dials: such mottoes usually urge t
14、he view that time passes and one mustnt waste it.,The Cantos, long fluid body of poetry by Ezra Pound.,Begun with the publication of the first three segments in Quia Pauper Amavi (1919), the work occupied Pound for most of the rest of his life.,The Cantos,The writing begun in 1915 was finally collec
15、ted in The Cantos of Ezra Pound (1970), but the work was not brought to any conclusion and simply trails off with fragments of Cantos 110 to 117.,The Cantos,Not only are subjects and language very varied, but the elliptical style ranges from laconic and esoteric juxtaposition to lengthy allusive ass
16、ociations.,The Cantos,The Cantos reveals relationships which apparently are meant to evaluate history by comparison, and to present a morality for the individual based on Confusian thought and one for society depending upon the ostensibly humanitarian use of state controlled credit and money.,Imagis
17、m,was a poetic vogue that flourished in England, and even more vigorously in America, between the years 1912 and 1917. It was planned and exemplified by a group of English and American writers in London, partly under the influence of the poetic theory of T.E. Hulme, as a revolt against what Ezra Pound called the “rather blurry, messy sentimentalistic mannerish” poetry at the turn of the century.,
