A FEW WORDS FROM EZRA POUND
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TPB's notes: from Ezra Pound's INSTIGATIONS OF EZRA POUND
A journalist has said to me: "We, i.e. we journalists, are like mediums. People go to a spiritist séance and hear what they want to hear. It is the same with a leading article: we write so that the reader will find what he wants to find."A DISTINCTION
That is the root of the matter; there is good journalism and bad journalism, and journalism that "looks" like "literature" and literature etc....
But the root of the difference is that in journalism the reader finds what he is looking for, whereas in literature he must find at least a part of what the author intended.
That is why "the first impression of a work of genius" is "nearly always disagreeable." The public loathe the violence done to their self-conceit whenever any one conveys to them an idea that is his, not their own.
This difference is lasting and profound. Even in the vaguest of poetry, or the vaguest music, where the receiver may, or must make half the beauty he is to receive, there is always something of the author or composer which must be transmitted.
In journalism or the "bad art," there is no such strain on the public.
It is well that the citizen should be acquainted with the laws of his country. In earlier times the laws of a nation were graven upon tablets and set up in the market place. I myself have seen a sign: "Bohemians are not permitted within the precincts of this commune"; but the laws of a great republic are too complex and arcane to permit of this simple treatment. I confess to having been a bad citizen, to just the extent of having been ignorant that at any moment my works might be classed in law's eye with the inventions of the late Dr. Condom.THE CLASSICS "ESCAPE"
It is possible that others with only a mild interest in literature may be equally ignorant; I quote therefore the law:
Section 211 of the United States Criminal Code provides:
"Every obscene, lewd, or lascivious, and every filthy book, pamphlet, picture, paper, letter, writing, print, or other publication of an indecent character and every article or thing designed, adapted, or intended for preventing conception or producing abortion, or for any indecent or immoral use; and every article, instrument, substance, drug, medicine, or thing which is advertised or described in a manner calculated to lead another to use or apply it for preventing conception or producing abortion, or for any indecent or immoral purpose; and every written or printed card, letter, circular, book, pamphlet, advertisement, or notice of any kind giving information directly or indirectly, where, or how, or from whom, or by what means any of the hereinbeforementioned matters, articles, or things may be obtained or made, or where or by whom any act or operation of any kind for the procuring or producing of abortion will be done or performed, or how or by what means conception may be prevented or abortion produced, whether sealed or unsealed; and every letter, packet, or package, or other mail matter containing any filthy, vile or indecent thing, device, or substance; any and every paper, writing, advertisement, or representation that any article, instrument, substance, drug, medicine, or thing may, or can, be used or applied for preventing conception or producing abortion or for any indecent or immoral purpose; and every description calculated to induce or incite a person to so use or apply any such article, instrument, substance, drug, medicine, or thing, is hereby declared to be non-mailable matter and shall not be conveyed in the mails or delivered from any post-office or by any letter carrier. Whoever shall knowingly deposit, or cause to be deposited for mailing or delivery, anything declared by this section to be non-mailable, or shall knowingly take, or cause the same to be taken, from the mails for the purpose of circulating or disposing thereof, or of aiding in the circulation or disposition thereof, shall be fined not more than five thousand dollars, or imprisoned not more than five years, or both."
It is well that the citizens of a country should be aware of its laws.
It is not for me to promulgate obiter dicta; to say that whatever the cloudiness of its phrasing, this law was obviously designed to prevent the circulation of immoral advertisements, propaganda for secret cures, and slips of paper that are part of the bawdy house business; that it was not designed to prevent the mailing of Dante, Villon, and Catullus. Whatever the subjective attitude of the framers of this legislation, we have fortunately a decision from a learned judge to guide us in its working.
"I have little doubt that numerous really great writings would come under the ban if tests that are frequently current were applied, and these approved publications doubtless at times escape only because they come within the term "classics," which means, for the purpose of the application of the statute, that they are ordinarily immune from interference, because they have the sanction of age and fame and USUALLY APPEAL TO A COMPARATIVELY LIMITED NUMBER OF READERS."
The capitals are my own.
The gentle reader will picture to himself the state of America IF the classics were widely read; IF these books which in the beginning lifted mankind from savagery, and which from A.D. 1400 onward have gradually redeemed us from the darkness of medievalism, should be read by the millions who now consume Mr. Hearst and the Ladies' Home Journal!!!!!!
Also there are to be no additions. No living man is to contribute or to attempt to contribute to the classics. Obviously even though he acquire fame before publishing, he can not have the sanction of "age."
Our literature does not fall under an inquisition; it does not bow to an index arranged by a council. It is subject to the taste of one individual.
Our hundred and twenty millions of inhabitants desire their literature sifted for them by one individual selected without any examination of his literary qualificatons.
I can not write of this thing in heat. It is a far too serious matter.
The classics "escape." They are "immune" "ordinarily." I can but close with the cadences of that blessed Little Brother of Christ, San Francesco d'Assisi:
CANTICO DEL SOLE
The thought of what America would be like
If the classics had a wide circulation
Troubles my sleep,
The thought of what America,
The thought of what America,
The thought of what America would be like
If the classics had a wide circulation
Troubles my sleep,
Nunc dimittis, Now lettest thou thy servant,
Now lettest thou thy servant
Depart in peace.
The thought of what America,
The thought of what America,
The thought of what America would be like
If the classics had a wide circulation....
Oh well!
It troubles my sleep.
Oravimus
English and French literature have stood in constant need of each other, and it is interesting to note, as concurrent but in no way dependent upon the present alliance, a new French vitality among our younger writers of poetry. As some of these latter are too new to presuppose the reader's familiarity with them, I quote a few poems before venturing to open a discussion. T.S. Eliot is the most finished, the most composed of these poets; let us observe his poem "The Hippopotamus," as it appears in The Little Review.THE NEW POETRY
THE HIPPOPOTAMUS
The broad backed hippopotamus
Rests on his belly in the mud;
Although he seems so firm to us....
Yet he is merely flesh and blood.
Flesh-and-blood is weak and frail,
Susceptible to nervous shock;
While the True Church can never fail
For it is based upon a rock.
The hippo's feeble steps may err
In compassing material ends,
While the True Church need never stir
To gather in its dividends.
The potamus can never reach
The mango on the mango-tree,
But fruits of pomegranate and peach
Refresh the Church from over sea.
At mating time the hippo's voice
Betrays inflexions hoarse and odd,
But every week we hear rejoice
The Church, at being one with God.
The hippopotamus's day
Is past in sleep; at night he hunts;
God works in a mysterious way—
The Church can sleep and feed at once
I saw the potamus take wing
Ascending from the damp savannas,
And quiring angels round him sing
The praise of God, in loud hosannas.
Blood of the Lamb shall wash him clean
And him shall heavenly arms enfold,
Among the saints he shall be seen
Performing on a harp of gold.
He shall be washed as white as snow,
By all the martyr'd virgins kist,
While the True Church remains below
Wrapt in the old miasmal mist.
This cold sardonic statement is definitely of the school of Théophile Gautier; as definitely as Eliot's "Conversation Galante" is in the manner of Jules Laforgue. There is a great deal in the rest of Mr. Eliot's poetry which is personal, and in no wise derivative either from the French or from Webster and Tourneur; just as there is in "The Hippopotamus" a great deal which is not Théophile Gautier. I quote the two present poems simply to emphasize a certain lineage and certain French virtues and qualities, which are, to put it most mildly, a great and blessed relief after the official dullness and Wordsworthian lignification of the "Georgian" Anthologies and their descendants and derivatives as upheld by The New Statesman, that nadir of the planet of hebetude, that apogee of the kulturesque.
CONVERSATION GALANTE[8]
I observe: "Our sentimental friend the moon!
Or possibly (fantastic, I confess)
It may be Prester John's balloon
Or an old battered lantern hung aloft
To light poor travelers to their distress."
She then: "How you digress!"
And I then: "Some one frames upon the keys
That exquisite nocturne, with which we explain
The night and moonshine, music which we seize
To body forth our own vacuity."
She then: "Does this refer to me?"
"Oh no, it is I who am inane."
"You, madam, are the eternal humorist,
The eternal enemy of the absolute,
Giving our vagrant moods the slightest twist!
With your air indifferent and imperious
At a stroke our mad poetics to confute:—"
And—: "Are we then so serious?"
Laforgue's influence or Ghil's or some kindred tendency is present in the whimsicalities of Marianne Moore, and of Mina Loy. A verbalism less finished than Eliot's appears in Miss Moore's verses called—
PEDANTIC LITERALIST
Prince Rupert's drop, paper muslin ghost,
White torch "with power to say unkind
Things with kindness and the most
Irritating things in the midst of love and
Tears," you invite destruction.
You are like the meditative man
With the perfunctory heart; its
Carved cordiality ran
To and fro at first, like an inlaid and royal
Immutable production;
Then afterward "neglected to be
Painful" and "deluded him with
Loitering formality,
Doing its duty as if it did not,"
Presenting an obstruction
To the motive that it served. What stood
Erect in you has withered. A
Little "palmtree of turned wood"
Informs your once spontaneous core in its
Immutable reduction.
The reader accustomed only to glutinous imitations of Keats, diaphanous dilutations of Shelley, woolly Wordsworthian paraphrases, or swish ful Swinburniania will doubtless dart back appalled by Miss Moore's departures from custom; custom, that is, as the male or female devotee of Palgravian insularity understands that highly elastic term. The Palgravian will then with disappointment discover that his favorite and conventional whine is inapplicable. Miss Moore "rhymes in places." Her versification does not fit in with preconceived notions of vers libre. It possesses a strophic structure. The elderly Newboltian groans. The all-wool unbleached Georgian sighs ominously. Another author has been reading French poets, and using words for the communication of thought. Alas, times will not stay anchored.
Mina Loy has been equally subject to something like international influence; there are lines in her "Ineffectual Marriage" perhaps better written than anything I have found in Miss Moore, as, for example:—
"So here we might dispense with her
Gina being a female
But she was more than that
Being an incipience a correlative
an instigation to the reaction of man
From the palpable to the transcendent
Mollescent irritant of his fantasy
Gina had her use Being useful
contentedly conscious
She flowered in Empyrean
From which no well-mated woman ever returns
Sundays a warm light in the parlor
From the gritty road on the white wall
anybody could see it
Shimmered a composite effigy
Madonna crinolined a man
hidden beneath her hoop.
Patience said Gina is an attribute
And she learned at any hour to offer
The dish appropriately delectable
What had Miovanni made of his ego
In his library
What had Gina wondered among the pots and pans
One never asked the other."
These lines are not written as Henry Davray said recently in the "Mercure de France," that the last "Georgian Anthology" poems are written, i.e., in search for "sentiments pour les accommoder à leur vocabulaire." Miss Loy's are distinctly the opposite, they are words set down to convey a definite meaning, and words accommodated to that meaning, even if they do not copy the mannerisms of the five or six by no means impeccable nineteenth century poets whom the British Poetry Society has decided to imitate.
All this is very pleasing, or very displeasing, according to the taste of the reader; according to his freedom from, or his bondage to, custom.
Distinct and as different as possible from the orderly statements of Eliot, and from the slightly acid whimsicalities of these ladies, are the poems of Carlos Williams. If the sinuosities and mental quirks of Misses Moore and Loy are difficult to follow I do not know what is to be said for, some of Mr. Williams' ramifications and abruptnesses. I do not pretend to follow all of his volts, jerks, sulks, balks, outblurts and jump-overs; but for all his roughness there remains with me the conviction that there is nothing meaningless in his book, "Al que quiere," not a line. There is whimsicality as we found it in his earlier poems. "The Tempers" (published by Elkin Mathews), in the verse to "The Coroner's Children," for example. There is distinctness and color, as was shown in his "Postlude," in "Des Imagistes"; but there is beyond these qualities the absolute conviction of a man with his feet on the soil, on a soil personally and peculiarly his own. He is rooted. He is at times almost inarticulate, but he is never dry, never without sap in abundance. His course may be well indicated by the change of the last few years; we found him six years ago in "The Postlude," full of a thick and opaque color, full of emotional richness, with a maximum of subjective reality:
POSTLUDE
Now that I have cooled to you
Let there be gold of tarnished masonry,
Temples soothed by the sun to ruin
That sleep utterly.
Give me hand for the dances,
Ripples at Philæ, in and out,
And lips, my Lesbian,
Wall flowers that once were flame.
Your hair is my Carthage
And my arms the bow,
And our words the arrows
To shoot the stars,
Who from that misty sea
Swarm to destroy us.
But you there beside me—-
Oh! how shall I defy you,
Who wound me in the night
With breasts shining like Venus and like Mars?
The night that is shouting Jason
When the loud eaves rattle
As with waves above me,
Blue at the prow of my desire.
O prayers in the dark!
O incense to Poseidon!
Calm in Atlantis.
From this he has, as some would say, "turned" to a sort of maximum objective reality in
THE OLD MEN
Old men who have studied
every leg show
in the city
Old men cut from touch
by the perfumed music—
polished or fleeced skulls
that stand before
the whole theatre
in silent attitudes
of attention,—
old men who have taken precedence
over young men
and even over dark-faced
husbands whose minds
are a street with arc-lights.
Solitary old men
for whom we find no excuses....
This is less savage than "Les Assis." His "Portrait of a Woman in Bed" incites me to a comparison with Rimbaud's picture of an old actress in her "loge." Not to Rimbaud's disadvantage. I don't know that any, save the wholly initiated into the cult of anti-exoticism, would take Williams' poem for an exotic, but there is no accounting for what may occur in such cases.
PORTRAIT OF A WOMAN IN BED
There's my things
drying in the corner;
that blue skirt
joined to the gray shirt—
I'm sick of trouble!
Lift the covers
if you want me
and you'll see
the rest of my clothes—
though it would be cold
lying with nothing on!
I won't work
and I've got no cash.
What are you going to do
about it?
——and no jewelry
(the crazy fools).
But I've my two eyes
and a smooth face
and here's this! look!
it's high!
There's brains and blood
in there—
my name's Robitza!
Corsets
can go to the devil—
and drawers along with them!
What do I care!
My two boys?
—they're keen!
Let the rich lady
care for them
they'll beat the school
or
let them go to the gutter—
that ends trouble.
This house is empty
isn't it?
Then it's mine
because I need it.
Oh, I won't starve
while there's the Bible
to make them feed me.
Try to help me
if you want trouble
or leave me alone—
that ends trouble.
The county physician
is a damned fool
and you
can go to hell!
You could have closed the door
when you came in;
do it when you go out.
I'm tired.
This is not a little sermon on slums. It conveys more than two dozen or two hundred magazine stories about the comedy of slum-work. As the memoir of a physician, it is keener than Spiess' notes of an advocate in the Genevan law courts. It is more compact than Vildrac's "Auberge," and has not Vildrac's tendency to sentiment. It is a poem that could be translated into French or any other modern language and hold its own with the contemporary product of whatever country one chose.
- Ezra pound
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