This is a short, yet substantial introduction to the work of Ezra Pound. We learn first about his scholarship and interest in historical poetry and literature across the various Romance Languages, and how this influenced his later output. Among this was his work on the medieval songs of the Provencal troubadours, which despite him being an American, gave his poetry both a deeply European musicality, as well as a more generally European cultural content. As is often the case, the exceptions to this prove the rule, notably his very Western obsession with the aesthetics of the Orient, and his famous Cantos, inspired by his work on translating Chinese poetry, including his Cathay.
As a central member of the Imagist movement, Pound also had a lasting legacy on the development of Modernism. We hear a bit here too about his involvement with other writers, including William Carlos Williams, TS Eliot, and Wyndham Lewis. Pound could be incredibly inventive and versatile, creating intricate and disciplined musical patterns in his verse when he wanted to, while at other times becoming influential in his development of vers libre, free verse.
Pound is a bit out of fashion at the moment due to his antisemitism and involvement with fascism (which are also touched on here), however his works remain really quite something if we are willing to look beyond the ugly aspects of his history. Davie’s work gives us a glimpse here of what lies beneath the surface with Pound, and will be of interest to anyone who is looking to better understand him. ( )