Following the of the 1930s, he turned more and more to history, especially economic history, a subject in which he had been interested since his meeting in London in 1918 with , the founder of , an economic theory stating that maldistribution of wealth due to insufficient purchasing power is the cause of economic depressions. The poem won't let us have it just one way. In this image, the reader is presented with the idea of small, fleeting, and weak elements of beauty within the natural world. In Pound's poem, we're not confronting a symbol that stands for one thing, we're confronting a metaphor which is far more alive in its associations, far more ambiguous, though not so much that it doesn't point us in a specific direction. This is only one aspect of the poem.
In this Canto and Canto I, Pounds retells Homer's classic myths. It draws together the urban world of the Paris Metro with the natural world, the world of leaves and tree boughs. However, Pound's compliments are slightly backhanded. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance. Analysis: The brevity of this poem can be intimidating to analyze; after all, how much can a poet possibly convey in merely two lines? This imagery is used to point to a certain point of view about this subway experience and about human commonality. To get a better understanding of why In a Station of the Metro is significant, let's analyze it using the three principles of imagism.
The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Gentildonna She passed and left no quiver in the veins, who now Moving among the trees, and clinging in the air she severed, Fanning the grass she walked on then, endures: Grey olive leaves beneath a rain-cold sky. 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. Here's an alternate, made-up version of the poem: The apparitions of these faces in the crowd are petals on a wet, black bough. The movement of the words and the images they create are no longer the secondhand borrowings of youth or apprenticeship but seem to belong to the observing intelligence that conjures up the particular work in hand. Will his affection wane once she is impure - and is he only attracted to her purity?. Take off their wings, and they are pepper pods! The general shape of most petals can be likened to that of an upside down dropp of water or teardrop.
Then, snap, they close again. Now imagine that you are in the 19th century somewhere in china, and this is where the poem takes place a small village called Chokan. The title of the poem creates the visual image of the busy city life with the hustle and bustle of the people and their carelessness to other people. I open the door of the metro building, I enter. Just for fun, let's replace those extra spaces with line breaks: The apparition of these faces in the crowd : Petals on a wet, black bough. The group holds something of the quality of a continuous moving picture. In his poetry Pound was now able to deal efficiently with a whole range of human activities and emotions, without raising his voice.
After two years at Cheltenham Military Academy, which he left without graduating, he attended a local. This is probably : in just two lines, Pound seeks to capture the fleeting impression of seeing a crowd of people at the Paris Metro, and puts into practice. I spot the metro sign, indicating were the entrance is, and I start walking towards it. In a Station of the Metro — The Poem The apparition of these faces in the crowd; Petals on a wet, black bough. The unexpected beauty in an unexpected place is beautifully and tactfully presented in a very precise way. He was well educated in Romance languages and became a professor teaching that same subject in 1907.
Which takes it, again, that much further from the merely decorative. The central image of the faces as petals is clear and simple, and can instantly be visualized. All of these words 'contribute' to the poem either by adding to the imagery or the structure ; so Pound has achieved the second principle of imagism. But what does the poem mean, precisely? One of the most dynamic periods in English literature was the modernist movement. Pound died in Venice in 1972.
However, one of Pound's most enduring poems was created in the early stages of his career. A civilized man is one who will give a serious answer to a serious question. I think it is worthy of attention. These apparitions are mysterious, and the poet shows the expression of surprise. At the beginning she starts with the describing her first meeting with her husband, than she starts writing how her life is changing periodically and she ends poem with a sad tone.
This boredom is not used to a help others but grows and grows until it is excessive and overwhelming. What could be viewed as dreary subject matter is given strong life in its comparison to nature. Pound connects images of petals and boughs to a mass of humanity - linking a man-made metropolitan scene with the cycles of nature. Lines 10- 12 She would like some one to speak to her, And is almost afraid that I will commit that indiscretion. An Object This thing, that hath a code and not a core, Hath set acquaintance where might be affections, And nothing now Disturbeth his reflections. He went back to Italy a disappointed man, and between 1941 and 1943, after Italy and the United States were at war, he made several hundred broadcasts over Rome Radio on subjects ranging from James Joyce to the control of money and the U.
In 1916, Pound wrote about the process of writing the poem Pound, Gaudier-Brzeska, 1916. Real education must ultimately be limited to men who insist on knowing, the rest is mere sheep-herding. The apparition literally means ghostly figure that suddenly appears in front of you. In his view, relations are more real and more important than the things relate, on which Pound adds a footnote: Compare Aristotles Poetics: Swift perception of relations, hallmark of genius. Coda O My songs, Why do you look so eagerly and so curiously into people's faces, Will you find your lost dead among them? In 1924 Pound tired of Paris and moved to , Italy, which was to be his home for the next 20 years.