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104 THIS DIFFICULT INDIVIDUAL Times, to each issue. Pound was fond of such gems as "It is no new thing to discover how much may be gleaned from wellharvested fields by a skilful and patient toiler." He described this activity in the British Who's Who of 1914 under the heading of "Recreation: Combing the Times for evidences of almost incredible stupidity." He later shortened this to "Recreation: the public taste", and so it has remained for many years. Pound's enthusiasm for Miss Monroe's magazine, Poetry, had waned considerably. He was sufficiently disgusted to offer his resignation as foreign editor in 1913, but, as he wrote to Amy Lowell in January, 1914, "they axed me back." 3 He encountered increasing difficulty in persuading Miss Monroe to print the poems of his "discoveries". She was relying more heavily on local talent, which was even more discouraging in 1914 than now. Pound sent her Eliot's "The Love Song of J. Alfred Prufrock" in October, 1914, with an enthusiastic note, "Hope you'll get it in soon." Months went by and Eliot's poem did not appear, although Miss Monroe continued to print the dross of the Midwest. At last, Pound could no longer hold his temper, and in May, 1915, he sent her a sharp note which began with this comment on the April, 1915 issue: "My gawddd! This is a rotten number of Poetry!" 4 The Eliot poem subsequently appeared in the June, 1915 issue. By this time, Pound had become a legendary name in the United States. Although his books of poems had been sold in small numbers, and not very widely read, he was the most discussed poet of the time. Then, as now, many more writers and critics talked about his work than actually read it. Mention of his name was always good for a violent argument between his protagonists and his detractors, who at that time were about equal in number. William Carlos Williams remained his steadfast friend during this period. He wrote to Miss Monroe on May 8, 1915, "You know, there are people who find Ezra Pound chiefly notable as a target—and yet they can't perceive his greatness. . . . One perceives, however, that it is knowledge and not Ezra Pound that

EZRA POUND 105 is so held—the confusion is, of course, inevitable under the circumstances." 5 On March 23, 1918, he wrote to Marianne Moore, "If there is one thing that stands out clearly above Ezra's other perfections, it is his unswerving intelligence in the detection of literary quality." 6 H. L. Mencken blew hot and cold about Pound, as he did about most things. His remark on Pound was, "Ezra Pound?—the American in headlong flight from America—a professor turned fantee, Abelard in grand opera." 7 Carl Sandburg made his position on Pound clear in the February, 1916 issue of Poetry, saying, in part, "If I were driven to name one individual who, in the English language, by means of his own example of creative art in poetry, has done most of living men to incite new impulses in poetry, the chances are I would name Ezra Pound." Iris Barry has given us a very memorable picture of Pound in London, as she knew him there in 1916. She writes, "Pound talks like no one else. His is almost a wholly original accent, the base of American mingled with a dozen assorted 'English society' and Cockney accents inserted in mockery, French, Spanish and Greek exclamations, strange cries and catcalls, the whole very oddly inflected, with dramatic pauses and diminuendoes." Of his wife, she says, "With him came Mrs. Pound, carrying herself delicately with the air, always, of a young Victorian lady out skating, and a profile as clear and lovely as that of a porcelain Kuan-yin." 8 Four decades later, Dorothy Pound still carries herself as nobly as she did when Iris Barry knew her in London. Miss Barry describes others of the London circle, during what she terms the "Ezra Pound period"—Violet Hunt, who complained that one of her chores was to pick snails off the Gaudier bust of Ezra which was sinking in her garden; Miss Harriet Weaver, the publisher of The Egoist, who was as stiff and severe as a bishop's daughter (Iris Barry says that she could hardly think of her as the one who first printed Joyce's Ulysses); Mrs. Strindberg, the cabaret proprietor, with her little troop of pet monkeys; and the very civilized Edmund Dulac, who had a Chinese sig-

EZRA POUND 105<br />

is so held—the confusion is, of course, inevitable under the circumstances."<br />

5<br />

On March 23, 1918, he wrote to Marianne Moore, "If there<br />

is one thing that stands out clearly above Ezra's other perfections,<br />

it is his unswerving intelligence in the detection of literary<br />

quality." 6<br />

H. L. Mencken blew hot and cold about Pound, as he did<br />

about most things. His remark on Pound was, "Ezra Pound?—the<br />

American in headlong flight from America—a professor turned<br />

fantee, Abelard in grand opera." 7<br />

Carl Sandburg made his position on Pound clear in the February,<br />

1916 issue of Poetry, saying, in part, "If I were driven to<br />

name one individual who, in the English language, by means of<br />

his own example of creative art in poetry, has done most of<br />

living men to incite new impulses in poetry, the chances are I<br />

would name Ezra Pound."<br />

Iris Barry has given us a very memorable picture of Pound<br />

in London, as she knew him there in 1916. She writes, "Pound<br />

talks like no one else. His is almost a wholly original accent,<br />

the base of American mingled with a dozen assorted 'English society'<br />

and Cockney accents inserted in mockery, French, Spanish<br />

and Greek exclamations, strange cries and catcalls, the whole<br />

very oddly inflected, with dramatic pauses and diminuendoes."<br />

Of his wife, she says, "With him came Mrs. Pound, carrying<br />

herself delicately with the air, always, of a young Victorian lady<br />

out skating, and a profile as clear and lovely as that of a porcelain<br />

Kuan-yin." 8<br />

Four decades later, Dorothy Pound still carries<br />

herself as nobly as she did when Iris Barry knew her in London.<br />

Miss Barry describes others of the London circle, during what<br />

she terms the "Ezra Pound period"—Violet Hunt, who complained<br />

that one of her chores was to pick snails off the Gaudier<br />

bust of Ezra which was sinking in her garden; Miss Harriet<br />

Weaver, the publisher of The Egoist, who was as stiff and severe as<br />

a bishop's daughter (Iris Barry says that she could hardly think<br />

of her as the one who first printed Joyce's Ulysses); Mrs. Strindberg,<br />

the cabaret proprietor, with her little troop of pet monkeys;<br />

and the very civilized Edmund Dulac, who had a Chinese sig-

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