Ezra Pound's In a Station of the Metro

Ezra Pound In front of this week's subway station, I have never read a poem by Ezra Pound. I soon noticed that many poems were short. For example, "At the subway station" is two lines. In the paper "Imaginism", the second rule of imagination called "I can never use words that do not contribute to the presentation" is called. I think this rule will help explain why some of the pound poems are not so short. The longer a poet exists, it becomes more difficult to obey the second rule of imagination.

Ezra Pound, 'At the subway station'. Like T. S. Eliot, Ezra Pound was born in America, but when I was young I moved to Europe - and then London. His two most famous works are one of the longest and shortest pieces of normative "British" literature. There are about 1000 pages in Cantos, there are only 2 rows in the "Subway Station" (you can read it). ) Here online; we are here to provide detailed comments about the pound poetry. It is one of the definitive poems of the imageist movement in contemporary poetry and it will pave the way for future ambitious works. It is not imaginary, but it reflects some of the core principles of imaging)

Ezra Pound's "subway station" is a poem that makes maximum use of tension between similarity and polarity like a couple. Earl Miner talked about this in an inconsistent way (E Sraivan's Ezra Pound 235), others talked about subjective / objective image interrelationships. Summary Function But the undetected dichotomy is the dichotomy of poetry and poetry by Arnold Daniel. Daniel's fourth and fifth Carroll may be mentioned here, but in particular his "Doutz brais e critz" ("Sweet scream and scream"). This sentence appears in the "romantic spirit" (34), the page immediately after the pound told "a language beyond the metaphor". Here, for ease of reference, this is a pound poem, Daniel's fifth quarter translation.