By A. E. Housman

ISBN-10: 0141919159

ISBN-13: 9780141919157

A. E. Housman was once one of many best-loved poets of his day, whose poems conjure up a powerful and idyllic rural international imbued with a poignant feel of loss. they're expressed in uncomplicated rhythms, but express a superb ear for the subtleties of metre and alliteration. His scope is vast -- starting from spiritual doubt to excessive nostalgia for the geographical region. This quantity brings jointly 'A Shropshire Lad' (1896) and 'Last Poems' (1922), in addition to the posthumous decisions 'More Poems' and 'Additional Poems', and 3 translations of extracts from Aeschylus, Sophocles and Euripides that exhibit his mastery of Classical literature.

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This double stone represents the reactionary nostalgia and the radical adventurousness of Pound's Cantos, a monument of modernism designed to resemble a classical ruin. 26]) or un-troped in Pound's work. As such, the word's reiteration throughout the Cantos can be articulated into the hidden syntax of Poundian desire that links writing, architecture, sculpture, magic, and archaeology. The stone as sign draws into itself the assurance of the stone-like thing, and within this double figure one can see Pound's central dilemma: how to civilize (ground, found) a poem that has left the confines of any one city and language, plot and topic, genre and culture.

Gravel [Cailloux]. Jacques Derrida, Dissemination In 1913, most of his readers would agree, Ezra Pound became irrevocably modern, perhaps because he had discovered that the central issue in the writing and reading of poetry is the value of the linguistic sign. The tenets of imagism established that year were the first recognition in the English and American tradition that poetry, per se, is a matter of language, and not a matter of temperaments, visions, or souls. For Plato, Sidney, Emerson, and Yeats, the "poet" is a peculiar subjectivity who possesses a certain technical skill: he could be a poietes (a maker) only if he were first a vates (a visionary).

Fenollosa claims, "Chinese notation is something much more than arbitrary symbols. It is based upon a valid shorthand picture of the operations of nature. In the algebraic figure and in the spoken word there is no natural connection between thing and sign: all depends upon sheer convention. But the Chinese method follows natural suggestion" (CWC, 8). Thus Fenollosa's legacy becomes Pound's substitute for a romantic theory of natural language, for a theory of the imagination that finds its authorization in nature.

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A Shropshire Lad and Other Poems: The Collected Poems of A.E. Housman by A. E. Housman


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