See the Journals Division Web site for 9In the face of universal flux, the ivory tower of artistic detachment where Mauberley takes refuge, although an ultimately inadequate response, is also embodied by the “stylist” of section X, who gives up economic aspirations as well as those claims to social recognition which are a recurrent theme of the sequence, as indeed they were of Pound’s own literary career. The past […] towards which our historical consciousness turns, contributes to form that mobile horizon on which all human life depends, that horizon that determines it as provenance and transmission. As a testament in which Pound like Ronsard claims to choose the manner of his burial, and which he significantly concludes with an allusion to Villon’s Grand Testament, it is also a modality of survival.
Trans. He has also published work on Sylvia Plath, Ted Hughes, and Elizabeth Bishop, as well as new French translations of Kafka’s The Trial and The Castle. Whereas “ENVOI (1919)” foregrounds a poetic form with the paranthetical year as an aside, the “1920 (Mauberley) foregrounds the year, and the historical moment it contains, while the poet, “Mauberley,” becomes a parenthetical aside.

Whether in Mauberley’s accessibility to the treacherously seductive voice of tradition or in the young soldier’s receptiveness to the patriotic ideology deconstructed in Pound’s partial quote of Horace’s “Dulce et decorum est pro patria mori” (71-2), falsehood provides the one connecting thread between artists and warriors. 2To introduce this analysis, I would like to focus on the title and its complex epigraph, which summarize the ambiguities of the entire sequence: HUGH SELWYN MAUBERLEY(Contacts and Life)‘VOCAT ÆSTUS IN UMBRAM’Nemesianus, Ec. Furthermore, the innumerable textual borrowings scattered throughout the sequence may be read as a way to lend the intertext a new space by the technique of grafting.

Modernist Non-fictional Narratives of War and Peace (1914-1950), 1. ––. edn, ed. The University of Wisconsin Press, a division of the UW-Madison Graduate School, has published more than 3000 titles, and « Character migration in Anglophone Literature », 1. 7In the face of this universal leveling of values where cheapness is the only constant, various modes of preservation are explored in Pound’s poetic sequence. A Death of One’s Own, 1. New York: New Directions, 1990. A reading of Pound’s poem. New York and London: W.W. Norton & Co, 1988. The name and personality of the titular subject is also reminiscent of T. S. Eliot's main character in The Love Song of J. Alfred Prufrock. Not only is this section haunted by proper nouns (Circe, Capaneus, Penelope, Flaubert) and parasitical voices from the Iliad, Ronsard’s Odes and Villon’s Testament, but suspicion is also cast on its wording by Pound’s repeated use of quotation marks, lines 3 and 17. Here the Poundian speaker powerlessly laments the endless supplanting of one thing by another and a general deterioration of old values he blames on the four evils of mechanization, christianization, democratization, and ultimately, the rule of market economy.
Eliot. Likewise, by portraying himself awaiting “The Lady Valentine’s commands,” he also reintroduces the paradigm of courtly love within the context of ordinary polite intercourse. Le cas du discours rapporté / 2. Persona: The Shorter Poems. 17By inserting extracts from previous texts in his poetic sequence, Pound not only anticipates The Waste Land’s famous “These fragments I have shored against my ruins,” he also acknowledges his symbolic debt toward literary tradition. This hesitation is reflected in the way the section is or is not to be related to the rest of the sequence. The Norton Anthology of Modern Poetry.

He prefers a “placid and uneducated mistress” (177) over the shallow sophistication of aristocratic sponsors such as the Lady Valentine who is portrayed in the penultimate section. Indeed it is much more the pathology of an era which Pound seems eager to scrutinize, and in this respect, it comes as no surprise if the conclusion of this first section is spoken in the tone of a medical examiner, in lines where the enjambment creates a striking contrast between analytical distance and somewhat outdated poetic diction: “the case presents / No adjunct to the Muses’ diadem.” (19-20). 18 XL 19 XII. Gadamer, Hans Georg. Indeed, the whole poetic sequence proves similarly resonant with misleading voices. For terms and use, please refer to our Terms and Conditions 6As Pound suggests, this depreciation is a direct function of the perverse economy typical of an age which tolerates “no loss of time” (30), yet allows “wastage as never before” (80) — the same perverse economy in which cultural currencies were caught during World War I, when “two gross of broken statues” —Victory of Samothrace included— and “a few thousand battered books” (94-5) were purchased at the cost of the death or disillusion of the generation evoked in section IV, the only one where the form of the quatrain temporarily breaks down.


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