Read Selected Poems, 1908-1969 by Ezra Pound Online

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This edition includes a representative group of early shorter poems, much of Pound's major work and a selection from the 'Cantos'....

Title : Selected Poems, 1908-1969
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ISBN : 9780571109074
Format Type : Paperback
Number of Pages : 192 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Selected Poems, 1908-1969 Reviews

  • Edward
    2018-07-27 06:44

    Alphabetical List of Titlesfrom Personae (1908, 1909, 1910)--Cino--Na Audiart--Villonaud for this Yule--The Tree--Sestina: Altaforte--Ballad of the Goodly Fere--Planh for the Young English King--"Blandula, Tenulla, Vagula"--Erat Hora--The House of Splendour--La Fraisne--A Villonaud: Ballad of the Gibbet--Marvoil--Piere Vidal Oldfrom Ripostes (1912)--Portrait d'une Femme--An Object--The Seafarer--∆ὡpia--Apparuit--The Returnfrom Lustra--Tenzone--The Garret--The Garden--Salutation--Salutation the Second--The Spring--Commission--A Pact--Dance Figure--April--Gentildonna--The Rest--Les Millwin--A Song of the Degrees--Ité--The Bath Tub--Liu Ch'e--Arides--Amities--Meditatio--Ladies--Coda--The Coming of War: Actæon--In a Station of the Metro--Alba--Coitus--The Encounter--Ιμέρρw--"Ione, Dead the Long Year"--The Tea Shop--The Lake Isle--Epitaphs--Villanelle: the Psychological Hour--Alba from "Langue d'Oc"--Near PerigordCathay--Song of the Bowmen of Shu--The Beautiful Toilet--The River Song--The River-Merchant's Wife: a Letter--Poem by the Bridge at Ten-Shin--The Jewel Stairs' Grievance--Lament of the Frontier Guard--Exile's Letter--Four Poems of Departure--Separation on the River Kiang--Taking Leave of a Friend--Leave-taking Near Shoku--The City of Choan--South-Folk in Cold Country--Sennin Poem by Kakuhaku--A Ballad of the Mulberry Road--Old Idea of Choan by Rosoriu--To-Em-Mei's "The Unmoving Cloud"--Homage to Sextus Propertius (1917)Hugh Selwyn Mauberley--I E. P. Ode Pour L'Election de son Sepulchre--II "The age demanded an image"--III "The tea-rose tea-gown, etc."--IV "These fought in any case,"--V "There died a myriad,"--VI Yeux Glauques--VII "Siena Mi Fe'; Disfecemi Maremma"--VIII Brennbaum--IX Mr. Nixon--X "Beneath the sagging roof"--XI "Conservatrix of Milésien"--XII "Daphne with her thighs in bark"--Envoi (1919)--Mauberley 1920--Cantos

  • kaelan
    2018-08-06 06:56

    Reviewing as I go....Poems 1908-1912: 2/5Pound obviously has a good ear. And already, his idiosyncratic set of influences—the ancient Greeks, the Provençal and Italian troubadours—have started to make themselves felt. But most of these poems suffer a sort of affected archaism, replete with "doths" and "thees" and "-eth" verb endings.Pound himself would later distance himself from this material:You were praised, my books, because I had just come from the country; I was twenty years behind the times so you found an audience ready. I do not disown you, do not you disown your progeny. Here they stand without quaint devices, Here they are with nothing archaic about them.Although "Sestina: Altaforte," with its close union of form and content, stands out from the rest.Poems 1913-1915: 3/5Man, I hadn't realized what a hipster Pound was in his time. Take, for instance, this counter-cultural call-to-arms, which boasts an almost Ginsberg-esque flavour:Go, my songs, to the lonely and the unsatisfied,Go also to the nerve-racked, go to the enlsaved-by-convention,Bear to them my contempt for their oppressors.On the whole, I found the 1913-1915 poems substantive yet transitional. Pound is finding his modernist voice, although the products lack the cut and polish of the Cantos. Indeed, some of these works, such as "The Game of Chess" with its angular imagery, reminded me of modernist cinema or even early constructivist art.The legendary "In a Station of the Metro" is probably the most memorable of the bunch. But honourable mention must go to the impressionistic "The Garden" and "Papyrus"—an extraordinarily enigmatic translation of a fragment of Sappho.Cathay: 4/5T.S. Eliot quipped that Pound, with these poems, had become "the inventor of Chinese poetry for our time." Such a statement may needle the modern reader. But circa 1915, when Cathay first appeared, people bothered themselves little with the ethics of cultural appropriation.In any event, Eliot made no claims as to Pound's authenticity, nor did (as far as I can tell) Pound himself. (Indeed, Cathay found the poet working off of an American scholar's translations of Japanese translations of the original Chinese.) And as was the case with Pound's forays into Provençal, Italian and Greek literature, his motivations seem two-fold: namely, a faith in the fundamental universality of human experience (on the one hand) and a legitimate fascination with difference (on the other).Unsurprisingly, then, these poems contain some obvious gaffs: Pound's oft-mentioned "River Kiang" is tautological ("kiang" means "river"); separate poems are accidentally conflated; authorship is erroneously ascribed. Yet there remains something deeply powerful about these poems, something made all the more poignant by their circuitous provenance. They are like echoes of an echo—pregnant and inscrutable at once.Poems 1915-1918: 4/5Isn't it curious how a poem can come across as literally gibberish on the first read through but turn more or less crystal-clear on repeated attempts? Like "L'Aura Amara," which initially struck me as a bona fide sound poem (on one level, it surely is) before revealing itself to be one of the most formally rigorous translations that I've ever had the pleasure to read. "Near Perigord," too, underwent a comparable transformation, from a spattering of obscure Provençal references into an insightful meta-critical essay on the perils of historic-poetic interpretation.The other poems in this collection are fine enough, but don't quite reach the heights (in this reader's estimation, at least) of these two.

  • Sophi Link
    2018-07-18 02:08

    Some of these poems were beautiful. I especially appreciated the short ones. I like a poem that lets the image speak for itself. So even though Pound has a delightful imagination, sometimes he ruins it with needless explicating. And sometimes the poems just struck me as lightweight. Not a lot of emotional power.Then again, the couplet about the faces in the subway is probably one of my favorite poems of all time. It's clean, simple, and evokes something. A feeling. Compare that to one of the poems (I've already returned my copy to the library, so I can't draw on specific examples I'm afraid) that make allusions to such and such a medieval knight and such and such a battle. "Sestina: Altaforte" is the one I've read in English classes and is probably the best example of the type, but there were plenty of similar ones I remember that didn't even live up to that level (and I dislike most if not all sestinas). It makes me question how these poems got into a selection of his best work. I feel like the book could've been half as long and I'd have liked it twice as much.In general: lots of allusions and very little substance, like an aerial perspective of a fairy tale. It's pretty, but it's not what I want from poetry. I need something with a root, where I feel like the poet has an investment in the poem, and for the most part this was a miss.

  • vi macdonald
    2018-08-04 02:50

    and so continues my horribly conflicted relationship with Ezra Pound.

  • Dane Cobain
    2018-07-18 06:06

    I really don’t like Ezra Pound as a person, but I can’t help but admire him as a poet. He’s one of those rare writers who seems to be blessed with an unnatural skill with the written word, but that doesn’t mean he was any less of a bellend.Now that that’s out of the way, we can talk about the poetry! This is basically the best introduction to Pound’s work that you could get, because it spans his entire career and just gives you the highlights. I wouldn’t recommend reading all of his Cantos, for example, because they can get boring quickly. But dipping into just a few of them? It’s definitely worth doing if you’re a serious reader of poetry.Pound will never be one of the great poets that I look up to, but he is an important figure and an influence on the people who’ve influenced me, so it’s the sort of thing that I feel is required reading. You should read it yourself, if you’re a fan of beat poetry.

  • Andrew Smith
    2018-07-30 03:09

    It's been a while since I read a book of poetry (;-( so this has been interesting for me. I hate Pound's early work, which seems tricksy, cryptic and self-conscious to me, but love much of what he wrote after the age of 30 or so. The imagery in 'Exile's Letter', to take an example almost at random, is amazing ('over roads twisted like sheep's guts' etc) and the self-searching 'Hugh Selwyn Mauberley' is strangely moving. The richness of the later work makes the early stuff interesting, making this is a useful selection. So, on to Eliot...oh for the days when poetry seemed at the very heart of things.

  • Joe
    2018-08-07 04:49

    I appreciate his skill with imagery, and his ornate tapestries of historical ambience, underlying mood and future tensions, but I cannot quite bring myself to thrill to his plodding verses illustrating the transience of history and resilience of artistry - Ezra Pound is not for me.

  • Darran Mclaughlin
    2018-07-18 05:40

    Not as good as I thought it might be. I love Yeats and Eliot so I expected to love this, but I wasn't all that taken to be honest. I also love Wallace Stevens and Robert Lowell, and I rate the both of them over Pound.

  • David Loveland
    2018-07-16 01:45

    Not so great a person, but his poetry is really very captivating. Once read it is very difficult to forget, like 'a wet leaf that clings to the threshold'

  • Mikael
    2018-08-07 06:47

    missing two from cathay but

  • Roisin O'Brien
    2018-08-14 07:46

    The 'Cantos'. That is all.