EZRA POUND WIERSZE PDF

Nera Fear death by water. Inside the cave like a set of skittles stood a dozen caskets, and each one gasped — a little theatrically perhaps — when opened, then gave out a breath of musk and pollen, and reaching down through cool sand I found poems written in my own hand. Endive poknd coral bronchial tree. I have stood still and stopped the sound of feet When far away an interrupted cry Came over houses from another street, But not to call me back or say good-bye; And further still at an unearthly height, O luminary clock against the sky Proclaimed the time was neither wrong nor right.

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Three spirits came to me And drew me apart To where the olive boughs Lay stripped upon the ground: Pale carnage beneath bright mist. It rests me to be among beautiful women Why should one always lie about such matters?

I repeat: It rests me to converse with beautiful women Even though we talk nothing but nonsense, The purring of the invisible antennae Is both stimulating and delightful.

This is another of our ancient loves. Pass and be silent, Rullus, for the day Hath lacked a something since this lady passed; Hath lacked a something. Most of his readers are familiar with at least two versions of his metro poem: the original version published in the April issue of Poetry as follows: The apparition. I wrote a thirty-line poem, and destroyed it because it was what we call work "of second intensity. Petals, on a wet, black bough. From the perspective of a haiku poet, Higginson singles out the most important change Pound made: that is the one from the colon at the end of the first line to a semicolon.

In his view, a colon tells the reader that the statement made in the first line introduces the statement made in the second, making one a metaphor for the other. I think this will be a haiku that Basho would have been proud to write.

Outside the haiku community, the metro poem is viewed as a haiku-like, yet a new kind of poem: the most influential imagist poem based on his ideogrammatic poetics. Rather than describing something - an object or situation - and then generalizing about it, imagist poets attempted to present the object directly, avoiding the ornate diction and complex but predictable verse forms of traditional poetry. Second, his eye moves through space; a bold figure represented by running legs under an eye, a modified picture of an eye, a modified picture of running legs, but unforgettable once you have seen it.

Third stands the horse on his four legs Legs belong to all three characters; they all alive. The group holds something of the quality of a continuous moving picture. There is a quick transition from the factual statement of the first line to the vivid metaphor of the second one.

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