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Published: Edition: First U. HC, ex-lib.
Ezra Pound Literary Essays PDF
First Ed. VG in VG dj in mylar. Corners bumped. Tape residue on blank endpapers. Light interior soiling. Pages slightly tanned. Tight binding. Norfolk Connecticut: New Directions, First printing. Black cloth with silver lettering on spine. Printed in Great Britain.
Literary Essays of Ezra Pound by Ezra Pound | | Booktopia
Condition of the book is Very Good; Bookplate of previous owner on front paste down, endpapers lightly foxed, text is very clean, binding is tight. Condition of the dust jacket is Very Good; spine faded, small chips at spine ends, price clipped, in new mylar wrapper. Essays RGR. Pound, Ezra. NY: New Directions, Octavo pgs. Book fine in a very good dust jacket. Fine in Very Good.
Seller: K. Grunewald - Bookdealer Published: Edition: First edition. New York: New Directions, Printed in the UK, this important volume, containing 33 of Pound's scattered essays, comes with an introduction by T. In three groupings; "The Art of Poetry", "The Tradition" and "Contemporaries", we glimpse why Pound was so revered, before his fall from grace during the war. Book is in fine condition, with a previous owner's bookplate. Jacket is faded to spine and chipped to top edge and corners. Disclaimer:A copy that has been read, but remains in clean condition. All pages are intact, and the cover is intact.
The spine may show signs of wear. Pages can include limited notes and highlighting, and the copy can include previous owner inscriptions. The dust jacket is missing. New Directions. Pages are unmarked by previous owners. Binding is sound, but spine is creased. Covers are lightly soiled, scuffed and rubbed, and show minor edgewear - rubbing, slight creasing and curling at corners. Text block is lightly soiled. Used - Very Good. Ships from the UK. Former Library book.
Great condition for a used book! Minimal wear. Your purchase also supports literacy charities. Cover worn, page edges tanned. Shipped from the U. All orders received before 3pm sent that weekday. Used - Good. Ships from Reno, NV. Shows some signs of wear, and may have some markings on the inside. Shipped to over one million happy customers. Your purchase benefits world literacy! Second impression. Edited with an introduction by T. Sporadic pencil underlining and annotation mostly near the beginning of the book.
Since March , Ford Madox Hueffer has pointed out that Wordsworth was so intent on the ordinary or plain word that he never thought of hunting for le mot juste. John Butler Yeats has handled or man-handled Wordsworth and the Victorians, and his criticism, contained in letters to his son, is now printed and available. I do not like writing about art, my first, at least I think it was my first essay on the subject, was a protest against it. Metastasio, and he should know if any one, assures us that this age endures—even though the modern poet is expected to holloa his verses down a speaking tube to the editors of cheap magazines—S.
Imperceivably, if you like, but pertains. And in this fashion one survives the resignation of Mr. Balfour, and the iniquities of the American customs-house, e quel bufera infernal, the periodical press. And then in the middle of it, there being apparently no other person at once capable and available one is stopped and asked to explain oneself. I would rather play tennis. I shall not argue.
That most symmetrical forms have certain uses. That a vast number of subjects cannot be precisely, and therefore not properly rendered in symmetrical forms. I think the artist should master all known forms and systems of metric, and I have with some persistence set about doing this, searching particularly into those periods wherein the systems came to birth or attained their maturity. It has been complained, with some justice, that I dump my note-books on the public.
About the Book
I think that only after a long struggle will poetry attain such a degree of development, or, if you will, modernity, that it will vitally concern people who are accustomed, in prose, to Henry James and Anatole France, in music to Debussy. It is tremendously important that great poetry be written, it makes no jot of difference who writes it. I believe in every one writing poetry who wants to; most do. The mastery of any art is the work of a lifetime. It is certain that the present chaos will endure until the Art of poetry has been preached down the amateur gullet, until there is such a general understanding of the fact that poetry is an art and not a pastime; such a knowledge of technique, of technique of surface and technique of content, that the amateurs will cease to try to drown out the masters.
If a certain thing was said once for all in Atlantis or Arcadia, in Before Christ or in after, it is not for us moderns to go saying it over, or to go obscuring the memory of the dead by saying the same thing with less skill and less conviction.
My pawing over the ancients and semi-ancients has been one struggle to find out what has been done, once for all, better than it can ever be done again, and to find out what remains for us to do, and plenty does remain, for if we still feel the same emotions as those which launched the thousand ships, it is quite certain that we come on these feelings differently, through different nuances, by different intellectual gradations. Each age has its own abounding gifts yet only some ages transmute them into matter of duration.
In the art of Daniel and Cavalcanti, I have seen that precision which I miss in the Victorians, that explicit rendering, be it of external nature, or of emotion. Their testimony is of the eyewitness, their symptoms are first hand. As for the nineteenth century, with all respect to its achievements, I think we shall look back upon it as a rather blurry, messy sort of a period, a rather sentimentalistic, mannerish sort of a period.
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