By Ezra Pound
This significant paintings, first released in 1934, is a concise assertion of Pound’s aesthetic idea. it's a primer for the reader who desires to keep an energetic, severe brain and develop into more and more delicate to the sweetness and concept of the world’s top literature. With attribute vigour and iconoclasm, Pound illustrates his precepts with indicates meticulously selected from the classics, and the concluding “Treatise on Meter” offers an illuminating essay for somebody meaning to learn and write poetry. ABC of Reading screens Pound’s nice skill to open new avenues in literature for our time.
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32 Rhythm, Illusion and the Poetic Idea In these poems, the image recurs of the rhythmic sea, whose tides and waves create an oscillation which inspires the poet with ‘la plus haute idée de beauté qui soit offerte à l’homme’. 2 The beauty of the sea’s oscillations provides a fleeting moment of reassuring Hugolian inspiration. It re-motivates faith in the incontrovertible aesthetic value of regular rhythm in nature, and thereby in poetic rhythm. 25), and in ‘La Musique’ these ‘bercements’ cradle the poet over the gouffre, soothing his existential angst: Le bon vent, la tempête et ses convulsions Sur l’immense gouffre Me bercent.
The following lines provide several emphatic examples of this technique, such as preposition / noun, or subject / verb: Si ses balances d’or / n’ont pesé le déluge De larmes qu’à la mer / ont versé tes ruisseaux? 21-22) There is also a sharp fall in the number of poems to feature no rejets, from twenty-seven (1843-46) to twelve (1853-56) and five (1858-59). 16-17). Moreover, there is an increase in the number of rejets followed by emphatic mid-hemistich punctuation. There is only one example in 1850-52, ‘Me bercent.
7-9) The sea’s rhythmical function is not guaranteed by God, but rather, granted by a demon, as if the temptation to believe in the universal analogy were but a fiendish illusion to which the poet succumbs. Thus, for the poet eager to escape the gouffre, the distinctly unsoothing winds and harsh roar of the waves create a quite illusory bercement. 12-13) The stupidity of a dozing beast recalls the ‘stupidity’ of blind faith to which Baudelaire sometimes wishes he could devote himself, and which he sometimes scorns.