Search the Community
Showing results for tags 'ezra pound'.
Found 2 results
Explore the Craft of Writing Poetry Late 1800s Poetic Movements Aesthetic Movement is predicated upon the school of thought that art is its own justification and purpose. Edgar Allen Poe, Algernon Swinburne, Oscar Wilde were 19th century proponents. The Cameo by Algernon Swinburne 1837-1909 There was a graven image of Desire Painted with red blood on a ground of gold Passing between the young men and the old, And by him Pain, whose body shone like fire, And Pleasure with gaunt hands that grasped their hire. Of his left wrist, with fingers clenched and cold, The insatiable Satiety kept hold, Walking with feet unshod that pashed the mire. The senses and the sorrows and the sins, And the strange loves the suck the breasts of Hate Till lips and teeth bite in their sharp indenture, Followed like beasts with flap of wings and fins. Death stood aloof behind a gaping grate, The Apostles, Alfred Lord Tennyson, EM Forster, Bertram Russell, Arthur Hallam were all members of this 19th century, society of intellectuals at Cambridge University in 1820. Crossing the Bar by Alfred Lord Tennyson Sunset and evening star, And one clear call for me! And may there be no moaning of the bar, When I put out to sea, But such a tide as moving seems asleep, Too full for sound and foam, When that which drew from out the boundless deep Turns again home. Twilight and evening bell, And after that the dark! And may there be no sadness of farewell, When I embark; For tho' from out our bourne of Time and Place The flood may bear me far, I hope to see my Pilot face to face When I have cross'd the bar. Della Cruscans were sentimentalist English poets from the late 1800s led by Robert Merry while in Italy. It was meant to be a collaboration between English and Italian poets and took its name from the Accademia della Crusca, a movement from the 16th century to "purify" the Italian language. The term became associated with affected, pretentious, often ornate poetry. Poets such Wordworth and Lord Byron, although not associated with the movement were influenced by the romanticism of the movement. Sonnet on Seeing Miss Helen Maria Williams Weep at a Tale of Distress She wept.--Life's purple tide began to flow In languid streams through every thrilling vein; Dim were my swimming eyes--my pulse beat slow, And my full heart was swell'd to dear delicious pain. Life left my loaded heart, and closing eye; A sigh recall'd the wanderer to my breast; Dear was the pause of life, and dear the sigh That call'd the wanderer home, and home to rest. That tear proclaims--in thee each virtue dwells, And bright will shine in misery's midnight hour; As the soft star of dewy evening tells What radiant fires were drown'd by day's malignant pow'r, That only wait the darkness of the night To cheer the wand'ring wretch with hospitable light. AXIOLOGUS William Wordsworth The European Magazine 40 (March 1787) 202 Fleshy School of Poetry was a term (uncomplimentary) attributed to what was concieved as the immoral and overly sensual poetry of 19th century poets, Daniel Gabriel Rossetti, William Morris and Swinburne. The term came from Robert Buchanan (writing as Thomas Maitland) Love Lily by Dante Gabriel Rossetti Between the hands, between the brows, Between the lips of Love-lily, A spirit is born whose birth endows My blood with fire to burn through me; Who breathes upon my gazing eyes, Who laughs and murmurs in mine ear, At whose least touch my color flies, And whom my life grows faint to hear. Within the voice, within the heart, Within the mind of Love-Lily, A spirit is born who lifts apart His tremulous wings and looks at me; Who on my mouth his finger lays And shows, while whispering lutes confer, That Eden of Love's watered ways Whose winds and spirits worship her Brows, hands, and lips, heart, mind, and voice, Kisses and words of Love-Lily,-- Oh! bid me with your joy rejoice Til riotous longing rest in me! Ah! let not hope be still distraught, But find in her its gracious goal, Whose speech Truth knows not from her thought Nor Love her body from her soul. Modernism is a movement between 1890 and 1940 that challenged and often rejected traditional form in poetry. The movement was led by TS Eliot who wrote one of the most significant Modernist poem The Waste Land and my favorite The Love Song of J Alfred Prufrock, William Butler Yeats and Ezra Pound who was a founder of Imagism. The popularity of Free Verse came about through this movement. Portrait d'une Femme by Ezra Pound Your mind and you are our Sargasso Sea, London has swept about you this score years And bright ships left you this or that in fee: Ideas, old gossip, oddments of all things, Strange spars of knowledge and dimmed wares of price. Great minds have sought you�lacking someone else. You have been second always. Tragical? No. You preferred it to the usual thing: One dull man, dulling and uxorious, One average mind�with one thought less, each year. Oh, you are patient, I have seen you sit Hours, where something might have floated up. And now you pay one. Yes, you richly pay. You are a person of some interest, one comes to you And takes strange gain away: Trophies fished up; some curious suggestion: Fact that leads nowhere; and a tale or two, Pregnant with mandrakes, or with something else That might prove useful and yet never proves, That never fits a corner or shows use, Or finds its hour upon the loom of days: The tarnished, gaudy, wonderful old work; Idols and ambergris and rare inlays, These are your riches, your great store; and yet For all this sea-hoard of deciduous things, Strange woods half sodden, and new brighter stuff: In the slow float of differing light and deep, No! there is nothing! In the whole and all, Nothing that's quite your own. Yet this is you. Parnassian Poets were a group of 19th century French poets who's rebellion to the excesses of Romantisism spurred them to write with objectivity and restraint. The Parnassians took their name from the Greek mountain sacred to Apollo and the Muses, the Parnassians. They espoused "art for art's sake", perfection of form, language and pictorial imagery. Theodore Banville and Leconte de Lisle were prominent in the movement and although I could find no examples of their work in English the movement played an important role in the development of French poetry. Un Poete Mort by Charles Leconte de Lisle Toi dont les yeux erraient, altérés de lumière, De la couleur divine au contour immortel Et de la chair vivante à la splendeur du ciel, Dors en paix dans la nuit qui scelle ta paupière . Voir, entendre, sentir ? Vent, fumée et poussière Aimer ? La coupe d'or ne contient que du fiel. Comme un Dieu plein d'ennui qui déserte l'autel, Rentre et disperse-toi dans l'immense matière. Sur ton muet sépulcre et tes os consumés Qu'un autre verse ou non les pleurs accoutumés, Que ton siècle banal t'oublie ou te renomme ; Moi, je t'envie, au fond du tombeau calme et noir, D'être affranchi de vivre et de ne plus savoir La honte de penser et l'horreur d'être un homme! A Dead Poet by Charles Leconte de Lisle You whose eyes wandered, altered light The divine immortal outline color And living flesh to the splendor of heaven, Sleep in peace at night that seals your eyelid. ee, hear, smell? Wind, smoke and dust. Love? The Golden Bowl contains only gall. As a God full of boredom deserted the altar Goes up and disperses in the vast area. n your silent tomb, and your bones consumed Another verse or not crying accustomed, Thy century banal or renames you forget you; envy you at the bottom of quiet and dark tomb To be free to live and not know The shame of thinking and the horror of being a man! Pre-Raphaelite Brotherhood is a 19th century group of poets and artists who's work used medieval settings and subject matter and was a rebellion against the ugliness of Victorian life. They were particularly inspired by La Belle Dame Sans Merci by John Keats. Poets such as D.G. Rossetti, Walter Pater and William Morris were among the brotherhood. A Good Knight in Prison by William Morris Wearily, drearily, Half the day long, Flap the great banners High over the stone; Strangely and eerily Sounds the wind's song, Bending the banner-poles. While, all alone, Watching the loophole's spark, Lie I, with life all dark, Feet tether'd, hands fettered Fast to the stone, The grim walls, square-lettered With prison'd men's groan. Still strain the banner-poles Through the wind's song, Westward the banner rolls Over my wrong. The Rhymers' Club was a group of poets who began meeting as a dining club upstairs at the Cheshire Cheese pub on Fleet Street, London England in the late 1800s. W. B. Yeats, Ernest Rhys, Ernest Dowson, Lionel Johnson, Richard Le Gallienne, John Davidson, Edwin Ellis, Victor Plarr, Selwyn Image, A. S. Hillier, John Todhunter, Arthur Symons, Ernest Radford and Thomas William Rolleston were part of the group which produced anthologies in 1892 and 1894. Several of the group were "fated to failure or early death" which caused Yeats to call them the "tragic generation". A Last Word by Ernest Dowson Let us go hence: the night is now at hand; The day is overworn, the birds all flown; And we have reaped the crops the gods have sown; Despair and death; deep darkness o'er the land, Broods like an owl; we cannot understand Laughter or tears, for we have only known Surpassing vanity: vain things alone Have driven our perverse and aimless band. Let us go hence, somewhither strange and cold, To Hollow Lands where just men and unjust Find end of labour, where's rest for the old, Freedom to all from love and fear and lust. Twine our torn hands! O pray the earth enfold Our life-sick hearts and turn them into dust. Spasmodic School was a group of 19th century, Victorian poets whose poetry was marked by violent and obscure imagery. Some poets associated with this group were P. J. Bailey, J.W. Marston, S.T. Dobell and Alexander Smith. Home In War Time by S T Dobell SHE turn'd the fair page with her fairer hand- More fair and frail than it was wont to be- O'er each remember'd thing he lov'd to see She linger'd, and as with a fairy's wand Enchanted it to order. Oft she fanned New motes into the sun; and as a bee Sings thro' a brake of bells, so murmur'd she, And so her patient love did understand The reliquary room. Upon the sill She fed his favorite bird. "Ah, Robin, sing! He loves thee. Then she touches a sweet string Of soft recall, and towards the Eastern hill Smiles all her soul-for him who cannot hear The raven croaking at his carrion ear. The Uranian Poets were a small group of underground pederast English poets from 1858-1930. These clandestine classicalists preferred to use conservative verse forms, idealized the history of Ancient Greece and seemed to have an infatuation for adolescent boys. William Johnson, Lord Alfred Douglas, John Gambril Nicholson, Rev. E. E. Bradford, John Addington Symonds, Edmund John, and Fabian S. Woodley were among the noted. There were also others who used pseudonyms such as "Philebus" and "A. Newman". Much of their work was privately published and limited by Victorian taboos.
Explore the Craft of Writing American Verse Imagism : Simple, direct and intense might be how one would describe an Imagist poem. Imagism is the term used to describe a school of poetry that emerged in England and America around 1912. Ezra Pound is hailed as the founder of the "movement" and H.D. or Hilda Doolittle, Richard Aldington, F.S. Flint, Amy Lowell, James Joyce and William Carlos Williams wrote in the "imagist" doctrine. Imagism was born as a reaction to the "verbose and abstract language in which much of the poetry of the 19th century had declined". NPEOPP. Ezra Pound describes the poetic image as " that which presents an intellectual and emotional complex in an instant of time." "The image …is a radiant node or cluster; it is what I can, and must perforce call a VORTEX, from which, and through which, and into which, ideas are constantly rushing. An image is real because we know it directly." The imagist poem should… "devise an abstract equivalent of an image, reduced and intensified." NPEOPP. I understand this to mean, a concrete image examined closely speaks of another more abstract image. To the Imagists the rhythmic unit is not the foot or the line but the strophe, which could be the whole poem. The strophe becomes a circle, a departure and a return. "the aims of the imagist movement in poetry provide the archetype of a modern creative procedure." Stephen Spender The movement somewhat lost its momentum during a rift between Pound and Lowell when Pound left the movement he began and referred to it as Amygism. He viewed the practice as too passive. The defining features of Imagist poetry are: values clarity, exactness and concreteness in detail. It is "dedicated to writing vivid and precise natural descriptions." Ezra Pound employs direct treatment of the "thing" whether subjective or objective. uses absolutely no word that does not contribute to the presentation, no adjective which does not reveal something. lyrical, composed more in the manner of a musical phrase than free verse. strives for immediacy of effect and the closest possible association of word and object. is linked with impressionism. insists that a poem "show not tell". attempts to intensify its objective reality. usually written in 26 words or less. does not mix the abstract with the concrete. Oread ------ H.D. (Hilda Doolittle 1886-1961) Whirl up, sea -- whirl your pointed pines, splash your great pines on our rocks, hurl your green over us, cover us with your pools of fir. In a Station of the Metro The apparition of these faces in the crowd; --------------- Petals on a wet, black bough. ------------- ---Ezra Pound (1885-1972)(the second line of Station . . , Pound described as a simile with the "like" suppressed) Image Old houses were scaffolding once ----------------------------- and workmen whistling. ------------------------- ---T.E Hume (1883-1917) Raindrop by Judi Van Gorder A bulging tear ------ slides --------- across a glossy leaf, ---------------------------- clings. . . --------- to the scalloped edge, --------------------------------- falls ---------------- to strike ----------- a rain-slicked rock.