Book contents
- The New Ezra Pound Studies
- Twenty-First-Century Critical Revisions
- The New Ezra Pound Studies
- Copyright page
- Contents
- Notes on Contributors
- Key to Abbreviations
- Editor’s Introduction
- Part I Pound’s Texts
- Chapter 1 Classical Literature
- Chapter 2 Early Medieval Philosophy and Textuality
- Chapter 3 Ezra Pound’s Pisan Cantos
- Chapter 4 ‘Scoured and Cleansed’
- Chapter 5 The Visual Field
- Chapter 6 Texts of The Cantos and Theories of Literature
- Chapter 7 Pound and Influence
- Part II Ezra Pound and Asia
- Part III Culture and Politics
- Index
- References
Chapter 7 - Pound and Influence
from Part I - Pound’s Texts
Published online by Cambridge University Press: 17 October 2019
- The New Ezra Pound Studies
- Twenty-First-Century Critical Revisions
- The New Ezra Pound Studies
- Copyright page
- Contents
- Notes on Contributors
- Key to Abbreviations
- Editor’s Introduction
- Part I Pound’s Texts
- Chapter 1 Classical Literature
- Chapter 2 Early Medieval Philosophy and Textuality
- Chapter 3 Ezra Pound’s Pisan Cantos
- Chapter 4 ‘Scoured and Cleansed’
- Chapter 5 The Visual Field
- Chapter 6 Texts of The Cantos and Theories of Literature
- Chapter 7 Pound and Influence
- Part II Ezra Pound and Asia
- Part III Culture and Politics
- Index
- References
Summary
Ezra Pound has influenced many poets in many ways, both during his lifetime and posthumously. He brought great influence to bear upon his peers about how poetry should be written, establishing and broadcasting the tenets of poetic modernism in English, offering models for how poems could be both far shorter and far longer at the same time as achieving greater focus and covering a broader range of subject than the pre-modernists imagined. Pound’s interventions around T. S. Eliot’s verse offer the most direct example of that influence. Despite acknowledging that Eliot, uniquely among American writers, ‘had actually trained himself and modernized himself on his own’ (SL 80), Pound worked extensively on Eliot’s work, perhaps most directly in the transition between Eliot’s Poems (1920) and The Waste Land (1922), which saw Eliot initially interpreting Pound’s Imagist concision in Poems, through their shared interest in Théophile Gautier, before adopting a more expansive Poundian ideogrammic method in The Waste Land.
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- Information
- The New Ezra Pound Studies , pp. 104 - 124Publisher: Cambridge University PressPrint publication year: 2019