The process of deletion expresses a modernist-style desire to break away from the typical poetic styles of the time period. Especially we can compare the previous sence to the later sence, and we find that they are the same. This poem is extremely short, but carries a deep meaning with it. It is not complex; rather, the two-line poem is straightforward and to the point. Flowers and trees, like human beings on a metro, are constantly moving, growing, and changing.
Ancient Wisdom, Rather Cosmic So-shu dreamed, And having dreamed that he was a bird, a bee, and a butterfly, He was uncertain why he should try to feel like anything else, Hence his contentment. This definition of imagery actually condemns the literature as whole, because if affirms the view of Plato. The central image of the faces as petals is clear and simple, and can instantly be visualized. This poem's length and quick pace matches the constant motion of a train as it speeds by. On the surface, this poem has two separate images: the crowd and the branch. Imagist poets attempted to bring in a single moment at a time and capture the emotions of that moment through the direct presentation of images, or word pictures. Verbless Poetry As previously mentioned, one of the most striking elements of In the Station of a Metro is that it is written entirely without verbs.
As Higginson stresses, by revising the poem Pound turned an otherwise sentimental metaphor into a genuine haiku This is a haiku that Shiki would have been proud to write. . By blending these two distinct images, Pound draws a parallel line between reality and non-reality. What makes this poem one of the best in my opinion is the versatility Mr. In just two lines, Pound distils the entire manifesto for Imagism into a vivid piece of poetry, what T.
But the flower does not bloom in the sunshine but appear on a wet, black bough, which signify the atomsphere of destruction and death. Can the spice-rose drip such acrid fragrance hardened in a leaf? The milk-white girls Unbend from the holly-trees, And their snow-white leopard Watches to follow our trace. Shapiro does not understand the imagist perspective. With only fourteen words used throughout the poem, it stands to reason that each one was chosen specifically for one particular conveyed image. Lawrence, and John Gould Fletcher.
The second sentence depicts a view of a nature, that happens after a rain. Though short, this poem is very sensory in nature; it allows the reader to imagine a scene while reading the lines. Such a technique is less about juxtaposing, or placing side by side, the two images, and more about superposition, that is, placing one on top of the other. This concision demonstrates the importance of each word that Pound elects to use in his poem, while also adding to the ambiguity of poem. The doors open quickly, revealing a sea of faces, and then close again - the faces are gone after a fleeting glance. It is also a shame that many people - including some poets - are not aware of the power of short poems - when well executed. In a Station of the Metro carries more emotional and psychological weight than Pound's contemporaries would have thought possible.
He placed significant value on clarity and economy of language. In a Station of the Metro Analysis On their own, each of the two sentence fragments that make up this work have almost no real meaning. In one moment, there is a face, as clear as can be, and in the next it is gone, and likely will never be remembered by the mind. The poem is instead formed by combining two sentence fragments, each with a subject, but without an action for that subject to perform. It is unclear whether he is writing from the vantage point of a passenger on the train itself or on the platform.
The unexpected beauty in an unexpected place is beautifully and tactfully presented in a very precise way. This concision demonstrates the importance of each word that Pound elects to use in his poem, while also adding to the ambiguity of poem. Pound wrote it after having a spiritual experience in a Paris metro subway station. Hulme who revolted against the Georgian Romanticism. The car crash that he caused by texting and driving resulted in seven people losing their lives. As with most poetry, it tends to be the eye of the reader that gives it its true definition.
The effect is therefore not cumulative but occurs beyond the words breaking the poem discretely into visual elements. Pound created a poem that strikes an immediate chord to the aware reader. Pound felt that classic poetry, namely Greek and Roman, presented many model examples of Imagism, and frequently referred back to those ancient verses in his work. But the poem stays in the memory partly because of the frailty of the image which is being suggested: petals on a bough will not be there forever, just as the faces in the Metro a hundred years from now will not belong to the same people. In this image, the reader is presented with the idea of small, fleeting, and weak elements of beauty within the natural world. Pound thus lends the apparitions of human faces an impression of the supernatural. Gentildonna She passed and left no quiver in the veins, who now Moving among the trees, and clinging in the air she severed, Fanning the grass she walked on then, endures: Grey olive leaves beneath a rain-cold sky.
And Richard Eugene Smith gives a good analysis of this story in his essay titled Ezra Pound and the Haiku College English, Vol. The brevity of the poem intrigues with a deep message regarding the beauty and diversity of human beings. So in this sense, we can see that in one part is the beauty of life, in the other side is the death of life, which combine to make a tragedy. Can the spice-rose drip such acrid fragrance hardened in a leaf? Pound's third convention of free-verse with organic rhythm is also present in this poem. Also, because the poem does not uses any verbs to connect the images, the juxtaposition that Pound sets up in the poem leaves open for numerous interpretations. Thus, incorporates the use of visual images without verbs and first person nouns.