Ezra Pound英文介绍

Literary works
The
Seafarer《水手》 Translation from Old English. Cathay《华夏》(1915) Translation of ancient Chinese poetry. Hugh Selwyn Maubery《休· 赛尔温· 毛伯利》(1920) deplored the Western civilization in the Great War(WWI) and its afermath.
Cantos 诗章 (1915-1945) Pound`s major work. It is the inclusion of Chinese characters as well as quotations in European languages other than English. As in Pound's prose writing, the themes of economics, governance, and culture are integral不可缺少的 to its content.

In 1920, upest by WWI, Pound Moved to Paris. There he joined the group of the Lost Generation(“迷惘的一代”). In 1924, he chose to stay in Italy. When WWII broke out, Pound support the Mussolini government and against the American soldiers. In 1945, arrested by the U. S. and tried for treason, then sent to hospital after being declared insane. Secured by T. S. Eliot and Robert Frost and Hemingway, settled down in Italy for the rest of his life.

Ezra pound (1885-1972)
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陈银斐
Character
introduction Life experience Major works Writing style Comments
Ezra Pound
Ezra Pound(30October18851November1972)was an expatriate American poet and critic who was a major figure of the early modernist movement. His contribution to poetry began with his development of imagism.
⑶Cantos 《诗章》 the intellectual diary since 1915 ~encyclopedic epic poem （学识渊博的史诗性诗歌）
Ezra Pound ′s major works
☆A Lume Spento --1908
☆Personae --1909
☆Des Imagistes --1914
☆ The Spirit of Romance --1910
☆ Homage to Sextus Propertivs --1917 ☆ Hugh Selwyn Mauberley --1920 ☆ The Cantos --1917~1959
Writing style:
Nadel writes that imagism was to change Pound‟s writing style. Pound said poetry require a precise and economic use of language and that the poet should always use the „exact‟ word and expression.

W. W. II, Italian government, radio broadcasts died in in 1972, in Italy
Pound’s
Ezra Weston Loomis Pound (October 30, 1885 – November 1, 1972) was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in the first half of the 20th century. He is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry.[1] The critic Hugh Kenner said of Pound upon meeting him: "I suddenly knew that I was in the presence of the center of modernism."[2] In the early teens of the twentieth century, he opened a fruitful exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as Robert Frost, William Carlos Williams, Marianne Moore, H. D., Ernest Hemingway, Wyndham Lewis, and especially T. S. Eliot. Pound also had a profound influence on the Irish writers W. B. Yeats and James Joyce. His own significant contributions to poetry begin with his promotion of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry—stressing clarity, precision, and economy of language, and forgoing traditional rhyme and meter in order to, in Pound's words, "compose in the sequence of the musical phrase, not in the sequence of the metronome."[3] His later work, spanning nearly fifty years, focused on his epic poem The Cantos.

Ezra Pound and Chinese Culture
Pound has been called the "inventor" of Chinese poetry in his time. Beginning in 1913 with the notebooks of the Orientalist Ernest Fenollosa, he pursued a lifelong study of ancient Chinese texts, and translated among others the writings of Confucius. Pound's translations based on Fenollosa's notes, collected in CATHAY (1915), are considered among the most beautiful of his writings. “And round about there is a rabble Of the filthy, study, unkillable infants of the very poor. They shall inherit the earth.” --from 'The Garden' in Cathay
Pound’s Commentary On In A Station
of Metro
“Three years ago in Paris I got out of a "metro" train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman, and I tried all that day to find words for what this had meant to me, and I could not find any words that seemed to me worthy, or as lovely as that sudden emotion. … and I found... not in speech, but in little spotches of colour. … But it was a word, the beginning, for me, of a language in colour...” “That evening, …, I realised quite vividly that if I were a painter, or if I had, often, that kind of emotion, or even if I had the energy to get paints and brushes and keep at it, I might found a new school of painting, of "non-representative" painting, a painting that would speak only by arrangements in colour...”