Prima Guerra Munniali, disillusionazione
World War I, disillusionment
Zitelli
Children
Educazione
Education
Stati Uniti (1945–1958)
United States (1945–1958)
Londra (1908–1920)
London (1908–1920)
Vede u rilazione
Views and relationships
Parigi (1921–1924)
Paris (1921–1924)
Italia (1924–1945)
Italy (1924–1945)
Prima vita (1885–1908)
Early life (1885–1908)
Introduzione à a scena littiraria
Introduction to the literary scene
Matrimoniu, Blast
Marriage, Blast
Attentu à u fascismu, a seconda guerra mundiale
Turn to fascism, World War II
Radiu
Radio broadcasts
Italia (1958–1972)
Italy (1958–1972)
Arreste di tradimentu
Arrest for treason
Festa
Release
Fondo
Background
E parolle superfluusi, particulari adjetivi, anu da esse evitati, è dinò l'espressioni comu "dim areas de la pace", quali Pound hà pensatu chì hà abbuffata l'imaghjura mitaturi l'astratti cù u concettu.
Superfluous words, particularly adjectives, should be avoided, as well as expressions like "dim lands of peace", which Pound thought dulled the image by mixing the abstract with the concrete.
Scrissi chì l'ugettu naturale hè sempri u "simbulu adattatu".
He wrote that the natural object was always the "adequate symbol".
Poeti ci anu "arragghiatu di l'astratti", è ùn deve esse dichjaratu in una manera mediocre ciò chì hà digià avutu in bona prosa. [51]
Poets should "go in fear of abstractions", and should not re-tell in mediocre verse what has already been told in good prose.[51]
Hilda Doolittle hà arrivatu in Londra da Filadelfia in maiu 1911 cù u poeta Frances Gregg è a mamma di Gregg; Quand'elli si ne turnonu in settembre, Doolittle hà sviatu.
Hilda Doolittle arrived in London from Philadelphia in May 1911 with the poet Frances Gregg and Gregg's mother; when they returned in September, Doolittle decided to stay on.
Pound hà intrudulatu à i so amichi, cumpresu u poeta Richard Aldington, à quale ella si maritava in u 1913.
Pound introduced her to his friends, including the poet Richard Aldington, whom she would marry in 1913.
Prima chì i trè d'elli vivi in Church Walk, Kensington-Pound in no.
Before that the three of them lived in Church Walk, Kensington—Pound at no.
10, Doolittle à nimu.
10, Doolittle at no.
6, è Aldington à nimu.
6, and Aldington at no.
8-travagliatu ogni ghjornu in a Sala di lettura di u museu britannicu. [39]
8—and worked daily in the British Museum Reading Room.[39]
In u museu Pound hà vinutu regularmente cù u curatru è u pueta Laurence Binyon, chì l'hàbbenu adupratu à i cuncetti artistii è littirari orientali orientali chì ispiravanu l'imaginariu è a tecnica di a so puetica dopu.
At the museum Pound met regularly with the curator and poet Laurence Binyon, who introduced him to the East Asian artistic and literary concepts that inspired the imagery and technique of his later poetry.
I libri di i visitori di u museu indegnu chì Pound hè spessu trova in u 1912 è u 1913 in u Sala di Scultura cu l'ukiyo-e giantisi, some inscritte cù u versione waka Giappone, un genre di poesia cu l'ecunumia è i convenzioni stritti prubabilmente cuntribuitu à i tecnichi imaginanti di cumpusizioni.[46][47] Ellu travaglia à u tempu nantu à i pueta chì diventonu Ripostes (1912), prova di alluntanà da u so travagliu prima; hà scrittu chì "a stilted language" di Canzoni hà ridivutu u Ford Madox Ford à rivoluzione in pianu cun risani[48] Ricunnò cun a so travagghiu di traduzzione chì u prublema ùn era micca in u so cunnuscenza di l'altri lingui, ma in u so usu di l'inglesu:
The museum's visitors' books show that Pound was often found during 1912 and 1913 in the Print Room examining Japanese ukiyo-e, some inscribed with Japanese waka verse, a genre of poetry whose economy and strict conventions likely contributed to Imagist techniques of composition.[46][47] He was working at the time on the poems that became Ripostes (1912), trying to move away from his earlier work; he wrote that the "stilted language" of Canzoni had reduced Ford Madox Ford to rolling on the floor with laughter.[48] He realized with his translation work that the problem lay not in his knowledge of the other languages, but in his use of English:
Ciò chì m'offrinu ùn hè micca l'italiano, ma a crescita di l'inglese mortu, u sedimentu presente in u mo vocabbulariu disponibile ...
What obfuscated me was not the Italian but the crust of dead English, the sediment present in my own available vocabulary ...
Ùn pudete micca circundà queste sorte.
You can't go round this sort of thing.
Ci hè di ottu o ottu anni per esse educatu in l'arti, è altri deci anni di disperse da quessa educazione.
It takes six or eight years to get educated in one's art, and another ten to get rid of that education.
Qualcosa ùn hà qualchissia amparà l'inglesi, un pudere micca amparà una seria di inglesi.
Neither can anyone learn English, one can only learn a series of Englishes.
Rossetti hà fattu a so lingua.
Rossetti made his own language.
Ùn avutu micca in u 1910 hà fattu una lingua, ùn sò micca significatu una lingua per utilizà, ma ancu una lingua per crede. [49]
I hadn't in 1910 made a language, I don't mean a language to use, but even a language to think in.[49]
Mentri era vicinu à Church Walk in u 1912, Pound, Aldington è Doolittle cummincianu à travaglià in l'idee nantu à a lingua.
While living at Church Walk in 1912, Pound, Aldington and Doolittle started working on ideas about language.
Mentre chì in u museu britannicu a sala di teulei unu dopu dopu, anu decisu di principià un "moviment" in poesia, chjamatu Imagismu.
While in the British Museum tearoom one afternoon, they decided to begin a 'movement' in poetry, called Imagism.
Imagisme, Pound scrivite in Riposte, hè "cuncernatu solu cù a lingua è a presentazione".[50] L'ubbittivu era chiarità: una lotta contru l'abstrazzioni, u romanticismu, la ritorica, l'inviu di l'ordine di parolle, è l'over-use of adjectives.
Imagisme, Pound would write in Riposte, is "concerned solely with language and presentation".[50] The aim was clarity: a fight against abstraction, romanticism, rhetoric, inversion of word order, and over-use of adjectives.
Acordanu cù trè principessi:
They agreed on three principles:
Trattamentu direttu di a "cosa" seghjettu è oġġettivi.
Direct treatment of the "thing" whether subjective or objective.
Per aduprà micca una parulla chì ùn pò cuntribuisce à a presentazione.
To use absolutely no word that does not contribute to the presentation.
A rignanti ritmu: per cumpone in a seccufiche di a frase musicale, micca in sequenza di un metronome. [51]
As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.[51]
Cum'è altri artisti modernistichi di u periodu, Pound hè stata inspirada da l'arti japonesi, ma l'aime era di riimperu ... o cum'è Pound hà dichjaratu, "fate novu", è fendu stili culturali, inveci di copià direttamente o slavishly.
Like other modernist artists of the period, Pound was inspired by Japanese art, but the aim was to re-make—or as Pound said, "make it new"—and blend cultural styles, instead of copying directly or slavishly.
Puderia anu inspiratu da una strada Suzuki Harunobu quasi a sicura vide in a Bibbiuteca Britannica (Richard Aldington cita i stampi specchi) cumprà à verse), è probabilmente hà pruvatu à scrive u versu haiku in questa u tempu. [47]
He may have been inspired by a Suzuki Harunobu print he almost certainly saw in the British Library (Richard Aldington mentions the specific prints he matched to verse), and probably attempted to write haiku-like verse during this period.[47]
In 1913 Pound avia datu noti pubblicati di Ernest Fenollosa, chì purtò à Cathay (1915).
In 1913 Pound was given Ernest Fenollosa's unpublished notes, which led to Cathay (1915).
W. B. Yeats invitatu Pound per passà u invernu di u 1913-1914 cun ellu in Sussex.
W. B. Yeats invited Pound to spend the winter of 1913–1914 with him in Sussex.
Trà 1914 è 1916 Pound assistitu in a serializzazione di a Ghjurnata Di u Joyce U ritrattu di l'Artist cum'è u Giuvanottu in L'Egoista, aiutò aiutò à avè publicatu in forma di libru.
Between 1914 and 1916 Pound assisted in the serialisation of James Joyce's A Portrait of the Artist as a Young Man in The Egoist, then helped to have it published in book form.
In u 1915 cunvince Poesia per a publicazione di T. S. Eliot "L'amore di Canta di J. Alfred Prufrock".
In 1915 he persuaded Poetry to publish T. S. Eliot's "The Love Song of J. Alfred Prufrock".
Eliot avia mandatu "Prufrock" à quasi tutti l'edituri in l'Inghilterra, ma era reffirmatu.
Eliot had sent "Prufrock" to almost every editor in England, but was rejected.
Inganniu u mandò à Pound, chì u vidarlu à u mumentu in un travagliu di genius è u sottu à a Poesia. "[Eliot] hà in furmazione stessu è hà mudernizatu nantu à a so propiu", Pound hà scrittu à Monroe in uttroghju 1914.
He eventually sent it to Pound, who instantly saw it as a work of genius and submitted it to Poetry.[73] "[Eliot] has actually trained himself AND modernized himself ON HIS OWN", Pound wrote to Monroe in October 1914.
"U restu di u ghjovanu promettore anu fattu unu o l'altru ma mai più.
"The rest of the promising young have done one or the other but never both.