Ezra Pound vs. T.S. Eliot

Note: According to Measurement And Planned Development, who specializes in effective self-transformation, There are key ways to interpret and effectively enhance strengths and reduce weaknesses. The first lesson in this two step process requires that knowledge must play the vital role. The required knowledge of what needs to change, the reasons for why it should be changed, and the ultimate outcome of what the change presents. The two-step process is as follows: 1. Baseline measurement- A realistic and educated assertion of what has been 2. Implementation of a plan- for accomplishing specific behavioral/societal changes Source:(MADP)

While this information may not appear to be relevent to this explication, it is a baseline that this paper follows in order to present a connection of relevent information Pound and Eliot:Determined to Succeed in their academic Venture. The door of an author often hinges on more than one aspect in their life. The works presented here by T.S. Eliot and Ezra Pound have arguably brought both men to a level in literary history unsurpassed by few, at least in the realm of modernist poetry. The two chosen writers were done so for the intercomplexity of both men’s lives and how they were both very much involved with each other. Pieces of this character need to be analyzed on first an aesthetic value, and secondly and perhaps most importantly they need to be further investigated in order to realize the intended message and most respectively, the intended audience.

The two poems that are to be examined are The Wasteland by Eliot and something here by Ezra Pound. The sometimes revealing self-satisfaction seen by these two poets in their work opens up a readily and distinguishable criticism of this type of language. However when deeply explored good does seem to come from the bad. The two writer’s presented here will be discussed on a basis of how their affected origence has helped to, if not to define, than to present: a linguistic element of elitism in modern day speech. The introduction of Ezra/Pound will move along quickly. “A young chap named Eliot has gone back to America for a bit. I have more or less discovered him…I wish you’d drop him a post card and tell him where he can see you…I have every confidence in his discretion,” (IX, Eliot). This interaction was published by Valerie Eliot along with the original manuscripts (which include notes from both Pound and Eliot) that allows a glimpse into the mindset of Ezra Pound. Perhaps without Ezra Pound’s influence and desire in order to get Eliot’s works published, T.S. may have never been remembered except for his satirical work in many of London’s periodicals, many of which ceased publication, due to a lack of readership.

This professional relationship that Pound and Eliot embarked upon was one filled with much confidence in the man called T.S. This confidence is only furthur defined by Ezra Pouind’s statements such as, “Genius…is the capacity to see ten things where the ordinary man sees one, and where the man of talent sees two or three, plus the ability to register that multiple perception in the material of his art.” Using words was something that Pound and T.S. were masters of manipulation, it is not unclear why they seeked recognition for their elitism in the linguistic world. This begins, the wasteland embarks on a journey that few are invited to and even if they weren’t they may still find difficulties in their translation. As an audience to this particular work. One must begin to allow the information to set in. If it doesn’t set well, there’s probably a reason. The reason for this is that on December 18.1919, T.S. was quoted as saying that he wanted to, “write a long poem I have had on my mind for a long time…” (38, Eliot).

This broad plan that was discussed over a particular frequency wave with his mother turned out to be what would become known as The Wasteland. As a side note, Pound is quoted as saying (to Eliot),”that the quote he introduced the wasteland with could be improved.” T.S.Eliot did not change it. The first original draft of The Wasteland, started with another opening page. The Burial of the Dead: begins with an introduction into a night of fun. “Top hats and all, we and Silk Hat Harry,” (I.1.4, Eliot), This is a night of excess. This night unfortunately ends with an alley, a cop, and a brothel that is unwilling to take the likes of the unnamed man in, but in the spirit of generosity the keeper of the gate lets him and even showers him and feeds him and sends him on his way. Now to return to what T.S.E. had to say about the text, “It’s just a piece of rhythmical grumbling.” This grumbling is less apparent in the first page of this Burial of the dead. The first section of Burial of the dead: opens with a much more depressive mood, perhaps the day after this night of excess. The complete changeover from one page to another creates an entirely different mood for the ongoing state of confusion.

The most striking part of this particular piece is that the first publication ending up paying more to T.S. than the book publishers were offering. The invocation of different languages prior to The burial of the deal, Presents a warning sticker to readers beware. However the absence of this intimidating factor, The Wasteland becomes a much more approachable “long poem.” Yet, the presentation of this complete display of command, of manipulation of language, creates a mystery for the rest of the piece upon reading it, doubt maystill remain about the intended message of this poem. That is unless you speak Latin/Greek and Italian. In this case you are to Pound, ” for the small numbers of readers that it is certain to have.” This was not just a “boy’s club.” This was a very small club, much like the C.R.A.F.T. club of the non-fictional writer, Tom Robbins. Life is pain, life is hard work, life is learned. The deadends and negative times in your life are not bad, they are inevitable, but throughout The Wasteland, hues of memorable experiences shine through in T.S. Eliot’s narration. This is the point that Pound’s expertise with German comes into play as well. He was also proficient in French. “Starnbergersee” (I.1.7, Eliot), is a lake near Munchen, Which is in Deutschland. “Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.” I’m not Russian at all, I come from Lithuania, a true German, which in German through gender dependent nouns allows the sex of the speaker to become clear. It is a female speaking to this narrator in a small community place of market. Later on we are to find out, Marie is this female.

The story of a simple sledride down the hill with her cousin. One might interject one thing here, The abruptness of the German suggests that among that hour of talking over coffee a miscalculation on the account of the primary voice. A mistep that could not do. Swiftly switching from one voice to another language commands respect from the offensive party. Then like it never happened a simple story of a sled. The power of another language used in actual content allows a better understanding of the intended message to the audience, one which is quickly confused. Then back to nodding and agreeing and sometimes interjecting. With proper respect to all other religions/beliefs I was raised as a protestant of the Catholic church. But this is also a piece of literary history and a book which is published in many languages all over the world, so here goes this theory behind lines 19- on until otherwise stated. The first temptation of Eve in the Bible. A raspy voice saying to come closer, manipulating your views, letting you reach out for more, The power of knowledge plays heavily in T.S. Eliot’s work. One could go to the length of accusing T.S. of paraphrasing The Bible, In Ezekiel 2.1-10, a similar story is presented but instead of briars and thorns and scorpions, there are broken images and no sound of water. References to the sun and dryness, presents an alter-image in Eliot’s version. Instead this is a voice from under a red rock. A sinister being that allows answers to questions you have not asked yet.

This temptation is what sent Alice down into Wonderland. T.S. Eliot’s exploration into the unknown is what makes him an affected writer. Not the overcompensation by big words or a command of five separate instances of separate languages but the control in doing so. “I will show you fear in a handful of dust” (I.1.30 Eliot). This cryptic message, could easily mean, a dust storm, or more simply put, dust in your eyes. Blindness=Fear. Fear of the unknown, fear of escape. With that comes power to control. Creating a blanket effect over even an audience is impressive, “but in the land of the blind, the man with one eye is king” -Tom Waits, who is also responsible for the lesser known “…Well I hear that it pays well How do your pistol and your Bible and your sleeping pills go?” What T.S. Eliot attempts to display in the beginning of this “long poem” is that once an experience is lived it cannot be reversed. It is true that many times throughout life repetition and suffering became an all too familiar scene.

The rut of something new never seems to come quickly enough. It is the evolution of a language. Attempting to push the boundaries so that others strive to knock you back down only to step above you. Maintaining the gradual climb is what T.S. attempts with The Wasteland. The importance of Ezra Pound is seen throughout much of T.S. Eliot’s work. The importance of social connections become clear. The importance of friendship becomes clear. The importance of what is behind the door becomes clear. To some it’s another door, to other’s it’s the end, and to some it’s a level of higher consciousness. Companies wanting to buy an individual’s intelligence is what supplied T.S. with his meager writing income. What’s sad is true, people ahead of their age understand their worth is only realized after they are gone. Luckily for T.S. Eliot was not simply forgotten in a pile of unpublished notebooks. It was in part due to the elite “or the remnant or the select few or the superior guys, or any word you may choose,” who were determined to drive ahead of the pack, to face the unknown, and to uncover others who possessed that same unbreakable will.

Glossary of Thesis statment:

Affected: Informality, Pleasure, Emotions and Actions.are emphasized over Structure, Reasoning, and Evaluation

Origence: The ability to think Imaginatively, to bring about new ideas and tangible products into being, to modify the environment in accordance with aesthetic criteria, and to discern the underlying elements of order in disorder. Source: MADP

WORKS CITED

Bible, The. NIV; Tyndale:IL. 1997.

Eliot, Valerie (Editor). THE WASTE LAND: A facsimile and transcript of the original drafts including the annotations of Ezra Pound. Harcourt: New York. 1971.

Eliot, Thomas Stearns. The Wasteland. Boni and Liveright: New York. 1922.

MADP: Personality Style. Date of access: 26 Feb. 2006. http://www.mapdinc.com/html/measured.html