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72 THIS DIFFICULT INDIVIDUAL occasioned by the fact that the journal was militantly opposed to the excessive virility of the Pankhurst wing. These suffragettes chained themselves to fences, in a poor imitation of the Andromeda myth, and also re-enacted other folktales which this writer does not care to discuss. In order to reemphasize the intellectual facets of the suffragette movement, such as they were, a wealthy lady named Miss Harriet Weaver had financed this newspaper. It was written and edited by her friend Dora Marsden. Miss Weaver felt that the paper was not attracting a sufficiently wide audience, and when Ezra Pound chanced upon her at one of Hulme's evenings, he persuaded her that she could get more readership by incorporating a literary review with the suffragette editorials. He agreed to furnish this department without salary, and thus he obtained an English outlet for the promotion of his various disciples and enthusiasms. Pound praised one of Fletcher's volumes in The New Freewoman, and soon afterwards, he called upon the Arkansas bard at his French restaurant in London. Fletcher has recorded the occasion in his autobiography: "I must confess that I eyed Pound with considerable interest, having already heard about him while in London, and having read with attraction and repulsion about equally balanced, his own early volumes. What I saw was a man of about my own age and height, dressed in a brown velvet coat, a shirt open at the neck and no necktie, and pearly-gray trousers. His fine-chiseled, forward-jutting features were set off by a rounded mass of fiery, curly red hair and beard and mustache similarly red and curly, trimmed to a point. Gray-blue penetrating eyes, shielded by a pince-nez, peered at the world behind his projecting cheekbones; and a highpitched, shrill, almost feminine voice provided strange contrast to the pugnacious virility of the poet's general aspect. He had, I soon saw, slender feminine hands, which, as he talked, he fluttered to and fro. His body was almost equally mobile, jumping and twitching in his chair, with a backward jerk of the head, as he emphasized each point." 1 Ezra was quite the innovator in dress, for it took considerable courage to wear an open-necked sport shirt in London at that time. He has told me of an occasion in Rapallo, on a scorching after-
EZRA POUND 73 noon, when a little Frenchman approached him in the town square. The Frenchman was choking in a high starched collar, as he passed by the comfortable Ezra, who was sauntering along in his customary sport shirt, open wide at the neck. The Frenchman's eyes protruded, first in hate, and then in envy. He reached up and with a single violent gesture ripped open his tie and shirt. It may be said that Ezra found the world writhing in stiff collars and left it in sport shirts. "I discovered him to be as baffling a bundle of contradictions as any man I have ever known," says Fletcher, continuing his description of Pound. "Internationally Bohemian in aspect, he yet preserved marked farwestern ways of speech and a frank, open democracy of manners. Hating the academicians of England, he yet laid claim to be a great scholar in early Provençal, Italian and Latin. Keen follower of the dernier cri in arts and letters, his own poetry was often deliberately archaic to a degree that repelled me. In short, he was a walking paradox." 2 Fletcher was unable to understand how a man could dislike academicians and yet devote himself to the study of the classics. Apparently he was unfamiliar with the type of scholar who had grown up in the universities of England like a particularly difficult type of clinging ivy, and is epitomized by T. S. Eliot's pronouncement on Professor Gilbert Murray's translations of the Greek: "He has erected a barrier between the student and the plays greater than that represented by the original Greek." 3 At first, Pound and Fletcher got along, to such an extent that Fletcher contributed some money to The New Freewoman. Having pumped this masculine source, Pound proposed to Miss Weaver that the journal's title be altered to a noun of more neutral gender. He suggested The Egoist, and she agreed to it. On January 1, 1914, the first issue of The Egoist appeared. Dora Marsden remained as editor, assisted by Richard Aldington as sub-editor. When he went to war, Aldington was replaced by Rebecca West, and still later by T. S. Eliot. In Make It New, Pound says, "In the spring of 1912, H.D., Richard Aldington and myself decided that we were agreed upon the three principles following:
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72 THIS DIFFICULT INDIVIDUAL<br />
occasioned by the fact that the journal was militantly opposed to<br />
the excessive virility of the Pankhurst wing.<br />
These suffragettes chained themselves to fences, in a poor imitation<br />
of the Andromeda myth, and also re-enacted other folktales<br />
which this writer does not care to discuss. In order to reemphasize<br />
the intellectual facets of the suffragette movement, such<br />
as they were, a wealthy lady named Miss Harriet Weaver had<br />
financed this newspaper. It was written and edited by her friend<br />
Dora Marsden. Miss Weaver felt that the paper was not attracting<br />
a sufficiently wide audience, and when Ezra Pound chanced upon<br />
her at one of Hulme's evenings, he persuaded her that she could<br />
get more readership by incorporating a literary review with the<br />
suffragette editorials. He agreed to furnish this department without<br />
salary, and thus he obtained an English outlet for the promotion<br />
of his various disciples and enthusiasms.<br />
Pound praised one of Fletcher's volumes in The New Freewoman,<br />
and soon afterwards, he called upon the Arkansas bard<br />
at his French restaurant in London. Fletcher has recorded the<br />
occasion in his autobiography:<br />
"I must confess that I eyed Pound with considerable interest,<br />
having already heard about him while in London, and having read<br />
with attraction and repulsion about equally balanced, his own<br />
early volumes. What I saw was a man of about my own age and<br />
height, dressed in a brown velvet coat, a shirt open at the neck<br />
and no necktie, and pearly-gray trousers. His fine-chiseled, forward-jutting<br />
features were set off by a rounded mass of fiery, curly<br />
red hair and beard and mustache similarly red and curly, trimmed<br />
to a point. Gray-blue penetrating eyes, shielded by a pince-nez,<br />
peered at the world behind his projecting cheekbones; and a highpitched,<br />
shrill, almost feminine voice provided strange contrast to<br />
the pugnacious virility of the poet's general aspect. He had, I<br />
soon saw, slender feminine hands, which, as he talked, he fluttered<br />
to and fro. His body was almost equally mobile, jumping and<br />
twitching in his chair, with a backward jerk of the head, as he<br />
emphasized each point." 1<br />
Ezra was quite the innovator in dress, for it took considerable<br />
courage to wear an open-necked sport shirt in London at that time.<br />
He has told me of an occasion in Rapallo, on a scorching after-