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324 THIS DIFFICULT INDIVIDUAL entire output, not only his books, but his articles, letters and references to him in other places. "Total research" is the only key to a man's thought, and this makes it necessary to live near a great library, of which there are only a few in the world, and but two in the United States, the Library of Congress and the New York Public Library. Pound was sometimes abrupt with those who were looking for a place to begin their education. "I put all that in ABC of Reading," he would say. "I don't want to go over it again." One might suppose that a prospective visitor would at least read one of his volumes of criticism, Instigations, or Pavannes and Divisions, before visiting Pound, but most of the curious were not at all abashed by their lack of familiarity with his work. On a few occasions, I produced a small notebook, but Pound would wave it aside. "You'll be able to remember what is worth remembering," he said. I usually scribbled the day's notes on scraps of paper as I left the hospital on the bus. Neither he nor his wife ever mentioned the influence he had exercised on so many of his contemporaries through direct association. His friends and admirers rarely discussed the role of teacher that he had fulfilled for so many twentieth century poets. As I delved into the careers of such writers as Yeats, Joyce, Eliot, and Hemingway, I began to realize how much he had done to develop, guide and correct the maturation of these fine talents. 3 Occasionally, some visitor would ask Pound about his relationship with Joyce or Yeats. I noted that Dorothy Pound would smile a quietly contented smile, and Pound would mention these absent luminaries with fond recollection. His reticence about his aid to these writers has caused some of his critics to discount his effect upon them. Babette Deutsch gave the final summation of Pound's role as teacher in The Yale Literary Magazine, December, 1958: "The major poets of the twentieth century have acknowledged publicly their debt to Pound, the teacher. Not all have been as explicit about it as the author of The Waste Land (and how much the rest of us could learn from the blue pencillings on the 'sprawling chaotic' first draft of that poem by the 'miglior fabbro!'). In any event, makers as diverse as Eliot, Yeats and William Carlos Williams were tutored to some degree by this ruthless critic, this
EZRA POUND 325 generous friend. And since Wallace Stevens spoke of Eliot as one of his masters, he must be counted among the many who profited indirectly from Pound's teachings. Indeed, there is no poet writing in English, and few writing in the other Western languages, who has not learned from this craftsman. There are, of course, also those who show the strength of his influence by rebelling against it. ". . . There have been earlier teachers: among them, Horace, Lu Chi, Coleridge, who gave similar good advice. It remained for Ezra Pound to give it in the language of our time to the poets of our time, so that, if civilization survives the militant madness now rampant, readers in later centuries will rejoice." To this generous tribute from Miss Deutsch, one is obliged to add that the influence of Pound upon Wallace Stevens was not only indirect through Eliot; it was also direct through the impact that Pound's lyrics had upon Stevens' work. Eliot himself commented in his essay, "Isolated Superiority", "I cannot think of anyone writing verse, of our generation or the next, whose verse (if any good) has not been improved by a study of Pound. His poetry is an inexhaustible reference book of verse form. There is, in fact, no one else to study." 4 As Eliot points out, most of what Pound has to offer young writers can now be found in his work, and he is the only one whom beginning poets and prose writers can study with profit. It is possible to read Hemingway and then write a more sparse prose, while sacrificing richness of language; it is possible to read Eliot and improve one's knowledge of the uses of poetry, but the result is usually unfortunate. The difference may be that Pound first gives the correct example, and then inspires one to think for oneself. To expose the student's undisciplined mind to the undisciplined mind of a Crane or a Faulkner is not only folly—it is criminal. In 1951, Ezra scribbled a note on the back of an envelope. We had been discussing moral guides, and he hastily scrawled for me the Four Tuan of Confucius: love 1 duty 2 propriety 3 wisdom 4
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EZRA POUND 325<br />
generous friend. And since Wallace Stevens spoke of Eliot as one<br />
of his masters, he must be counted among the many who profited<br />
indirectly from Pound's teachings. Indeed, there is no poet writing<br />
in English, and few writing in the other Western languages, who<br />
has not learned from this craftsman. There are, of course, also<br />
those who show the strength of his influence by rebelling against it.<br />
". . . There have been earlier teachers: among them, Horace,<br />
Lu Chi, Coleridge, who gave similar good advice. It remained for<br />
Ezra Pound to give it in the language of our time to the poets of<br />
our time, so that, if civilization survives the militant madness now<br />
rampant, readers in later centuries will rejoice."<br />
To this generous tribute from Miss Deutsch, one is obliged to<br />
add that the influence of Pound upon Wallace Stevens was not only<br />
indirect through Eliot; it was also direct through the impact that<br />
Pound's lyrics had upon Stevens' work.<br />
Eliot himself commented in his essay, "Isolated Superiority",<br />
"I cannot think of anyone writing verse, of our generation or<br />
the next, whose verse (if any good) has not been improved by<br />
a study of Pound. His poetry is an inexhaustible reference book<br />
of verse form. There is, in fact, no one else to study." 4<br />
As Eliot points out, most of what Pound has to offer young<br />
writers can now be found in his work, and he is the only one<br />
whom beginning poets and prose writers can study with profit. It<br />
is possible to read Hemingway and then write a more sparse prose,<br />
while sacrificing richness of language; it is possible to read Eliot<br />
and improve one's knowledge of the uses of poetry, but the result<br />
is usually unfortunate. The difference may be that Pound first gives<br />
the correct example, and then inspires one to think for oneself. To<br />
expose the student's undisciplined mind to the undisciplined mind<br />
of a Crane or a Faulkner is not only folly—it is criminal.<br />
In 1951, Ezra scribbled a note on the back of an envelope. We<br />
had been discussing moral guides, and he hastily scrawled for me<br />
the Four Tuan of Confucius:<br />
love 1<br />
duty 2<br />
propriety 3<br />
wisdom 4