Ezra Pound
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Who was Ezra Pound?
Ezra Pound (1885–1972) was an American poet, critic, and a key figure in the modernist movement in English and American literature. He championed the work of many artists, including T.S. Eliot, James Joyce, and Ernest Hemingway. Pound was central to Imagism, emphasizing direct and sparse language in poetry, and later explored Vorticism, connecting art to industrialization. During World War II, he made pro-Fascist broadcasts in Italy, leading to his arrest and confinement after the war. His most ambitious work, The Cantos, is a long, complex poem exploring various themes and subjects.
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What kind of poetry did Ezra Pound write?
Ezra Pound was a versatile American poet and critic who significantly influenced the modern literature movement. He began writing The Cantos, a collection of poems with philosophical reflections, in 1915, with the first pieces appearing in Poetry magazine in 1917. Pound's poetry evolved from late Victorian themes to a modern style characterized by economy, brevity, and clarity, using concrete details and visual images.
Pound was also a key figure in the Imagist movement, which favored succinct verse with clear imagery and sparse language. His notable works include Hugh Selwyn Mauberley and Homage to Sextus Propertius.
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What was Ezra Pound's role in the modernist movement?
Ezra Pound was a central figure in the modernist movement, an energetic and discerning promoter of the arts. More than any other individual, he helped advance modernism in English and American literature, fostering the work of diverse talents like William Butler Yeats, James Joyce, and T.S. Eliot. Pound's influence extended to the Imagist movement around 1912, where he and other poets like H.D. and Richard Aldington, advocated for succinct verse with clear imagery and sparse language. Besides Imagism, Pound engaged with Vorticism, connecting art with industrialization.
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Which poets and writers did Ezra Pound help or influence?
Ezra Pound was a key figure in the modernist movement, helping many writers and poets, including T.S. Eliot, James Joyce, and William Butler Yeats. Pound persuaded Yeats to adopt a more modern poetic style.
Pound's efforts extended to publishing Joyce's Portrait of the Artist as a Young Man and Ulysses, and he also gave T.S. Eliot an early start as a poet and critic. Additionally, Pound played a central role in Imagism, a literary movement emphasizing direct and sparse language, which influenced writers like H.D. (Hilda Doolittle), Richard Aldington, and F.S. Flint. He later turned to Vorticism, relating art to industrialization. He also assisted T.S. Eliot with the editing of his long poem The Waste Land.
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What are some of Ezra Pound's most famous works?
Ezra Pound was a highly influential American poet and critic who significantly contributed to the modernist movement in literature.
Some of his most famous works include:
* The Cantos, a collection of poems that he began writing in 1915, with the complete edition consisting of 117 sections.
* Hugh Selwyn Mauberley, a long dramatic poem published in 1920, offering a portrait of British literary culture.
* "Homage to Sextus Propertius," published in the book Quia Pauper Amavi (1919), is a commentary on the British Empire in 1917, through the lens of Propertius and the Roman Empire.
* Lustra, a collection of short, free-verse poems.3 Britannica SourcesCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles. -
How did Ezra Pound's ideas and actions affect his reputation over time?
Ezra Pound's reputation evolved significantly due to his controversial ideas and actions. Initially, he was celebrated as a key figure in the modernist movement, promoting talents like T.S. Eliot and Ernest Hemingway. However, his admiration for Benito Mussolini and pro-Fascist broadcasts during World War II led to his arrest and confinement.
Following the war, he was declared "insane and mentally unfit for trial" and spent twelve years in a mental hospital. Despite the controversy, he was awarded the Bollingen Prize for his Pisan Cantos in 1949, sparking public outrage. While his literary contributions remain significant, his political views and actions have indelibly stained his legacy.
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Ezra Pound (born October 30, 1885, Hailey, Idaho, U.S.—died November 1, 1972, Venice, Italy) was an American poet and critic, a supremely discerning and energetic entrepreneur of the arts who did more than any other single figure to advance a “modern” movement in English and American literature. Pound promoted, and also occasionally helped to shape, the work of such widely different poets and novelists as William Butler Yeats, James Joyce, Ernest Hemingway, Robert Frost, D.H. Lawrence, and T.S. Eliot. His pro-Fascist broadcasts in Italy during World War II led to his postwar arrest and confinement until 1958.
Early life and career
Pound was born in a small mining town in Idaho, the only child of a Federal Land Office official, Homer Loomis Pound of Wisconsin, and Isabel Weston of New York City. About 1887 the family moved to the eastern states, and in June 1889, following Homer Pound’s appointment to the U.S. Mint in Philadelphia, they settled in nearby Wyncote, where Pound lived a typical middle-class childhood.
After two years at Cheltenham Military Academy, which he left without graduating, he attended a local high school. From there he went for two years (1901–03) to the University of Pennsylvania, where he met his lifelong friend, the poet William Carlos Williams. He took a Ph.B. (bachelor of philosophy) degree at Hamilton College, Clinton, New York, in 1905 and returned to the University of Pennsylvania for graduate work. He received an M.A. in June 1906 but withdrew from the university after working one more year toward his doctorate. He left with a knowledge of Latin, Greek, French, Italian, German, Spanish, Provençal, and Anglo-Saxon, as well as of English literature and grammar.
In the autumn of 1907, Pound became professor of Romance languages at Wabash Presbyterian College, Crawfordsville, Indiana. Although his general behaviour fairly reflected his Presbyterian upbringing, he was already writing poetry and was affecting a bohemian manner. His career came quickly to an end, and in February 1908, with light luggage and the manuscript of a book of poems that had been rejected by at least one American publisher, he set sail for Europe.
He had been to Europe three times before, the third time alone in the summer of 1906, when he had gathered the material for his first three published articles: “Raphaelite Latin,” concerning the Latin poets of the Renaissance, and “Interesting French Publications,” concerning the troubadours (both published in the Book News Monthly, Philadelphia, September 1906), and “Burgos, a Dream City of Old Castile” (October issue).
Now, with little money, he sailed to Gibraltar and southern Spain, then on to Venice, where in June 1908 he published, at his own expense, his first book of poems, A lume spento (“With Tapers Quenched’). About September 1908 he went to London, where he was befriended by the writer and editor Ford Madox Ford (who published Pound’s work in his English Review), entered William Butler Yeats’s circle, and joined the “school of images,” a modern group presided over by the philosopher T.E. Hulme.
Success abroad
In England, success came quickly to Pound. A book of poems, Personae, was published in April 1909; a second book, Exultations, followed in October; and a third book, The Spirit of Romance, based on lectures delivered in London (1909–10), was published in 1910.
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After a trip home—a last desperate and unsuccessful attempt to make a literary life for himself in Philadelphia or New York City—he returned to Europe in February 1911, visiting Italy, Germany, and France. Toward the end of 1911 he met an English journalist, Alfred R. Orage, editor of the socialist weekly New Age, who opened its pages to him and provided him with a small but regular income during the next nine years.
In 1912 Pound became London correspondent for the small magazine Poetry (Chicago); he did much to enhance the magazine’s importance and was soon a dominant figure in Anglo-American verse. He was among the first to recognize and review the poetry of Robert Frost and D.H. Lawrence and to praise the sculpture of the modernists Jacob Epstein and Henri Gaudier-Brzeska. As leader of the Imagist movement of 1912–14, successor of the “school of images,” he drew up the first Imagist manifesto, with its emphasis on direct and sparse language and precise images in poetry, and he edited the first Imagist anthology, Des Imagistes (1914).
A shaper of modern literature
Though his friend Yeats had already become famous, Pound succeeded in persuading him to adopt a new, leaner style of poetic composition. In 1914, the year of his marriage to Dorothy Shakespear, daughter of Yeats’s friend Olivia Shakespear, he began a collaboration with the then-unknown James Joyce. As unofficial editor of The Egoist (London) and later as London editor of The Little Review (New York City), he saw to the publication of Joyce’s novels Portrait of the Artist as a Young Man and Ulysses, thus spreading Joyce’s name and securing financial assistance for him. In that same year he gave T.S. Eliot a similar start in his career as poet and critic.
Pound continued to publish his own poetry (Ripostes, 1912; Lustra, 1916) and prose criticism (Pavannes and Divisions, 1918). From the literary remains of the great Orientalist Ernest Fenollosa, which had been presented to Pound in 1913, he succeeded in publishing highly acclaimed English versions of early Chinese poetry, Cathay (1915), and two volumes of Japanese Noh plays (1916–17) as well.