The apparition of these faces in the crowd:
Petals on a wet, black bough.
That Mr Moody is constantly being upstaged by the subject of his study is not surprising. Pound was one of the most colourful artistic figures in a period full of them.
According to Ford Madox Ford, who became a good friend of Pounds shortly after the bumptious young American arrived in London: Ezra would approach with the step of a dancer, making passes with a cane at an imaginary opponent. He would wear trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand-painted by a Japanese friend, an immense sombrero, a flaming beard cut to a point and a single large blue earring. W.B. Yeatss simple assessment was that: There is no younger generation of poets. E.P. is a solitary volcano.
A great merit of Mr Moodys approach is the space he gives to Pounds writings. It is love-it-or-hate-it stuff, but, either way, undeniably fascinating. All good art is realism of one kind or another, Pound said. Reconciling that tidy statement with practically any of his poems is hard work but, as Mr Moody shows over and over again, hard work that offers huge rewards. His first volume ends in 1920, with Pound quitting London in a huff, finally fed up after more than a decade of doing everything in his power to rattle the intellectual establishment with British insensitivity to, and irritation with, mental agility in any and every form . His disgraceful radio programmes and the full blooming of his loopiness lie ahead. So, too, do most of his exquisite Cantos.
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