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178 THIS DIFFICULT INDIVIDUAL simple. 30 It is the form of conversation. When two people, or a group, meet and have converse, they form a relationship (really a new form), and their converse or intercourse takes place within that relationship. The Cantos take place within the interrelated aspects of man's existence, and as such, they can only puzzle those who are unfamiliar with that existence. In one of the first comments on the Cantos, T. S. Eliot wrote, in 1917, "We would leave it as a test: when anyone has studied Mr. Pound's poems in chronological order, and has mastered 'Lustra' and 'Cathay,' he is prepared for the Cantos—but not until then." 31 This suggestion still holds true. The reader should not approach the Cantos as his first step in discovering Pound. The necessity of familiarizing oneself with the body of Pound's poetical and critical work is not as painful a duty as it may sound, particularly to those who are not wedded for life to their preconceptions and prejudices. That work offers the only guide extant for young people who wish to write either prose or poetry; the rest of our contemporary writers have seen fit, for reasons best known to themselves, to shroud the creative act in mystery, or at least in Mother Hubbards. The Cantos have served to excite much of that contumely that Pound, alone of present-day writers, seems able to arouse in the reader, the beholder, or the one who has merely heard his name. It is curious that Mr. Eliot and Mr. Yeats, no mean talents, have been unable to touch the wellsprings of fury in the populace as Mr. Pound seems able to do with his slightest work. Perhaps this is because Mr. Pound deals with realities, and realities are apt to touch us where we do not wish to be touched. As long as poets confine themselves to writing about how pretty the roses are, or praising or excoriating those currently managing the state, or wondering whether the Second Coming has come or gone, they do not really reach us. The discussion of such problems does not lead to the stake. Richard Aldington stated in 1939 that "The proper place for Pound's Cantos is in D'Israeli's Curiosities of Literature, unless indeed it fits better into his Calamities of Authors. . . . Pound is
EZRA POUND 179 really at his best in the penumbra of speech; where his reader is left just a little uncertain what the poet really meant to say and yet cannot help feeling that something rather beautiful has been said." 32 In his later years, Aldington has busied himself with slashing attacks upon the writers whom he knew in his youth. He has written opprobrious biographies of Norman Douglas, D. H. Lawrence, T. E. Lawrence, and others. He can best be disposed of by remarking that as a critic he compares with Robert Graves. In The Saturday Review of Literature, of January 19, 1935, John Crowe Ransom complained that he thought the Cantos were "missing the effect of poetry." Perhaps he should have qualified this by saying that the Cantos miss the effect of the poetry that he was accustomed to reading. The New York Times carried a favorable review of A Draft of XXX Cantos by Roa Lou Walton, April 2, 1933. The critic said, in part, "Pound is a superb technician, perhaps the most important modern prosodist. He has contributed much to modern poetry by his many studies in rhythm. He has taught Eliot his technique. He has taught MacLeish a great deal about speech in poetry." William Carlos Williams has made contradictory statements about the Cantos. He was quite impressed by the early ones, but has withdrawn somewhat from the development of the technique used in the later Cantos. He made an interesting comment on Pound in a letter to Kay Boyle, in 1932: "I don't think he has solved anything for us. His line is classic adaptation, no more." 33 Ezra did not go unnoticed in the United States during his Rapallo years. The Literary Digest occasionally mentioned him. A photograph in the March 20, 1926 issue is entitled "An International Radical Literary Trio". The radicals are Ford, agape, on the left, a bored Joyce in the center, and a fierce Pound. The Literary Digest quoted Pound in the January 14, 1928 issue as follows: "There will be no literate or educated party in American politics in our time; neither Mr. Sandburg nor I, nor even Mr. Ben Hecht, is like to invade the halls of Congress nor lead anyone over the barricades." Yet we have lived to see Robert Frost's birthday commemorated
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EZRA POUND 179<br />
really at his best in the penumbra of speech; where his reader is<br />
left just a little uncertain what the poet really meant to say and yet<br />
cannot help feeling that something rather beautiful has been<br />
said." 32<br />
In his later years, Aldington has busied himself with slashing<br />
attacks upon the writers whom he knew in his youth. He has<br />
written opprobrious biographies of Norman Douglas, D. H. Lawrence,<br />
T. E. Lawrence, and others. He can best be disposed of by<br />
remarking that as a critic he compares with Robert Graves.<br />
In The Saturday Review of Literature, of January 19, 1935, John<br />
Crowe Ransom complained that he thought the Cantos were "missing<br />
the effect of poetry." Perhaps he should have qualified this by<br />
saying that the Cantos miss the effect of the poetry that he was<br />
accustomed to reading.<br />
The New York Times carried a favorable review of A Draft of<br />
XXX Cantos by Roa Lou Walton, April 2, 1933. The critic said,<br />
in part, "Pound is a superb technician, perhaps the most important<br />
modern prosodist. He has contributed much to modern poetry by<br />
his many studies in rhythm. He has taught Eliot his technique. He<br />
has taught MacLeish a great deal about speech in poetry."<br />
William Carlos Williams has made contradictory statements<br />
about the Cantos. He was quite impressed by the early ones, but<br />
has withdrawn somewhat from the development of the technique<br />
used in the later Cantos. He made an interesting comment on<br />
Pound in a letter to Kay Boyle, in 1932: "I don't think he has<br />
solved anything for us. His line is classic adaptation, no more." 33<br />
Ezra did not go unnoticed in the United States during his Rapallo<br />
years. The Literary Digest occasionally mentioned him. A photograph<br />
in the March 20, 1926 issue is entitled "An International<br />
Radical Literary Trio". The radicals are Ford, agape, on the left, a<br />
bored Joyce in the center, and a fierce Pound.<br />
The Literary Digest quoted Pound in the January 14, 1928<br />
issue as follows: "There will be no literate or educated party in<br />
American politics in our time; neither Mr. Sandburg nor I, nor<br />
even Mr. Ben Hecht, is like to invade the halls of Congress nor<br />
lead anyone over the barricades."<br />
Yet we have lived to see Robert Frost's birthday commemorated