Stone Cottage : Pound, Yeats, and modernism PDF
Preview Stone Cottage : Pound, Yeats, and modernism
STONE COTTAGE This page intentionally left blank STONE COTTAGE Pound, Yeats, and Modernism James Longenbach New York Oxford OXFORD UNIVERSITY PRESS Oxford University Press Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Petaling Jaya Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland and associated companies in Berlin Ibadan Copyright © 1988 by Oxford University Press, Inc. First published in 1988 by Oxford University Press, Inc., 200 Madison Avenue, New York, New York 10016 First issued as an Oxford University Press paperback, 1990 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press, Inc. Library of Congress Cataloging-in-Publication Data Longenbach, James. Stone Cottage. Bibliography p. Includes index. 1. Pound, Ezra, 1885-1972. 2. Yeats, W. B. (William Butler), 1865-1939—Influence—Pound. 3. Modernism (Literature) 4. Poets, American—2oth century—Biography. 5. Authors, Irish—2oth century—Biography. 6. Sussex—Intellectual life. I. Title. PS3531.o82Z386 1988 821'.912'o9 87-18545 ISBN 0-19-504954-3 ISBN 0-19-506662-6 (pbk) Since this page cannot legibly accommodate all the copyright notices, the following page constitutes an extension of the copyright page. 2468 10 97531 Printed in the United States of America Acknowledgment is made to the following: New Directions Publishing Corp. and Faber and Faber Ltd. for permission to reprint lines from Cantos 3, 5, 7, 8, 13, 14, 16, 74, 76, 77, 80-83, 95, and 113, The Cantos of Ezra Pound, copyright © 1934, 1948, 1962 by Ezra Pound; "La Fraisne," "In Durance," "In Exitum Cuiusdam," "Und Drang," "The Fault of It," "Homage to Wilfrid Scawen Blunt," "Poem: Abbreviated from the Conversation of Mr. T. E. H.," from The Collected Early Poems, copyright © 1976 by Ezra Pound; "The Return," "Dance Figure," "The Tem- peraments," "The Coming of War: Actaeon," "Liu Ch'e," "In a Station of the Metro," "Heather," "The Lake Isle," "Provincia Deserta," "Exile's Letter," "Salutation the Third," "Post Mortem Conspectu," "Near Perigord," "Villanelle: The Psychological Hour," "Hugh Selwyn Mauberley," "Abu Salammamm—A Song of Empire," "Fratres Minores," from Personae, copyright 1926 by Ezra Pound; previously unpublished or uncollected material by Ezra Pound, copy- right © 1988 by the Trustees of the Ezra Pound Literary Property Trust. A. P. Watt Ltd. on behalf of Michael B. Yeats and Macmillan London Ltd., and Macmillan Publishing Co. for permission to re- print from The Variorum Edition of the Poems of W. B. Yeats, copyright 1916, 1918, 1919, 1924, 1928 by Macmillan Publishing Co., renewed 1944, 1946, 1947, 1952, 1956 by Bertha Georgie Yeats; copyright 1940 by Georgie Yeats, renewed 1968 by Bertha Georgie Yeats, Michael Butler Yeats and Anne Yeats; copyright 1957 by Macmillan Publishing Co. Oxford University Press for excerpts from previously unpublished letters by W. B. Yeats, copyright © 1988 by Michael Yeats and Anne Yeats. Harcourt Brace Jovanovich and Faber and Faber Ltd, for permis- sion to reprint from "Sweeney Among the Nightingales" in Collected Poems 1909-1962 by T. S. Eliot, copyright 1936 by Harcourt Brace Jovanovich, Inc.; copyright © 1963, 1964 by T. S. Eliot; and "Little Gidding" in Four Quartets by T. S. Eliot, copyright 1943 by T. S. Eliot; renewed 1971 by Esme Valerie Eliot. Parts of Chapter 3 appeared in 'Yeats Annual No. 4 (London: Macmillan, 1986). This page intentionally left blank To JOANNA This page intentionally left blank Preface Reminiscing about his fellow poets in the Rhymers' Club, Yeats pauses in his autobiography to consider that "the dream of my early manhood, that a modem nation can return to Unity of Culture, is false; though it may be we can achieve it for some small circle of men and women, and there leave it till the moon bring round its century." When Yeats first published these words in 1922, the small circle of the Rhymers had been gone for over a generation. Yeats mourned their loss, recognized their limitations, but remembered the ideal of an artistic community—a secret society—which the tragic generation embodied. A generation later, Ezra Pound, incarcerated at Pisa at the end of the Second World War, looked back to the small circle of men and women he knew in his youth. "God knows what else is left of our London / my London, your London," he wrote in the Pisan Cantos. All Pound had were memories, and, like Yeats, he invoked the com- panions of an earlier age one by one. Lordly men are to earth o'ergiven these the companions: Fordie that wrote of giants and William who dreamed of nobility and Jim the comedian singing:
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