Individualist Anarchism Pound And The Egoist

Pound's pre-war politics were less well defined than either Hulme's or Eliot's. Nevertheless, in 1913 he began to contribute to a magazine that had a very definite place on the political spectrum the individualist anarchist New Freewoman. Initially publishing under the title of The Freewoman, The New Freewoman (as it became in 1913) was founded as a feminist periodical that campaigned for the psychological, social, economic and political freedom of women. Its editor, Dora Marsden (1882-1960),...

Eliots Ara Vos Prec

The poem in Ara vos Prec which most directly relates to Eliot's writings on classicism is 'Whispers of Immortality' (1918) it anticipates the argument of 'The Metaphysical Poets' published a year later. In the first half of the poem Eliot describes the sensibility of John Webster and John Donne, whom he thought achieved a union of thought and feeling in their writings. Of Webster, best known for his macabre tragedies, The Duchess of Malfi and The White Devil, Eliot writes that he 'knew that...

My Sweetest Lesbia Summery

Eliot, Hulme and Pound all held anti-democratic political views during their early careers. Eliot and Hulme identified themselves with 'classicism', in the sense determined by Charles Maurras and the Action Fran aise. Pound, more equivocally, associated himself with the individualist anarchism advanced by Dora Marsden in The New Freewoman The Egoist. The poetics of all three are shaped by these views Eliot's theory of the 'dissociation of sensibility' that took place at the time of the English...

Four Quartets

Eliot's Four Quartets begins, in 'Burnt Norton', with abstract speculations about time, returning to the Bergsonian concepts that had governed his early verse 'Time present and time past Are both perhaps present in time future And time future contained in time past'. But the problem that this conception of time presents to Eliot in the 1930s and 40s is that it amounts to a rejection, or at least a devaluation, of history and culture, in favour of the subjective experience of the moment. The...

Dramatis Personae

The Waste Land and The Cantos may be read as an ideology critique of the kind Hulme set out in his introduction to Reflections on Violence. Both poems question and severely criticize the religious, social and political ideologies that structure our lives. But to retain the integrity of the poetry, the poems' arguments cannot be made in the authorial voice that would be to descend to the level of the propagandist. Instead, Eliot and Pound make their poems out of many voices - some imaginary,...

Theorists Of Modernist Poetry

Taylor & Francis Group LONDON AND NEW YORK 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge This edition published in the Taylor & Francis e-Library, 2007. To purchase your own copy of this or any of Taylor & Francis or Routledge's collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. Routledge is an imprint of the Taylor & Francis Group, an informa business 2007 Rebecca Beasley All rights reserved....

Pound And Imagism

Although Pound later claimed Hulme's importance for imagism had been overstated, his first public announcement of the new movement nevertheless accorded Hulme a paternal role. Pound's sixth collection of poetry, Ripostes (1912), contained an appendix of five poems entitled 'The Complete Poetical Works of T.E. Hulme', which Pound introduced with a jocular note. Though not entirely complimentary, it described the imagists as 'the descendents' of Hulme's 'Secession Club' (1990 251). In his...

The Objective Correlative

The philosophies of both Bergson and Bradley inform Eliot's concept of the 'objective correlative'. Though it was not the first use of the term or the idea, Eliot's formulation, in 'Hamlet and his Problems' (later renamed 'Hamlet') (1919), was certainly the most influential. Arguing that Hamlet is not Shakespeare's masterpiece, but in fact an 'artistic failure', Eliot locates that failure in Shakespeare's inability to express 'the essential emotion of the play', which he takes to be Hamlet's...