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Essay / Research Paper Abstract
A 10 page essay that contrasts and compares the principle of logopoeia in Ezra Pound's Canto II and Eliot's The Waste Land. Ezra Pound defines the poetic term "logopoeia," as "'the dance of the intellect among words'" (Pound How to Read 939). By this Pound means that words not only have a direct surface meaning, but the poet also takes into account connotations and "special habits of usage" (Pound How to Read 939). Logopoeia is so vocabulary specific that it cannot be translated, but Pound feels that the attitude of mind that it expresses may be convened in another tongue through a paraphrase, although he seems to feel that this is not likely. This poetic term applies aptly to Pound's Cantos and to T.S. Eliot's The Waste Land. Examination of Canto II and Eliot's masterpiece demonstrates the essence of logopoeia, as each work has complex imagery, which presents complex and multi-layered meaning that requires not only a detailed knowledge of English, but also a detailed background in English and classical references. Bibliography lists 3 sources.
Page Count:
10 pages (~225 words per page)
File: D0_khpndell.rtf
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Unformatted sample text from the term paper:
have a direct surface meaning, but the poet also takes into account connotations and "special habits of usage" (Pound How to Read 939). Logopoeia is so vocabulary specific that it
cannot be translated, but Pound feels that the attitude of mind that it expresses may be convened in another tongue through a paraphrase, although he seems to feel that this
is not likely. This poetic term applies aptly to Pounds Cantos and to T.S. Eliots The Waste Land. Examination of Canto II and Eliots masterpiece demonstrates the essence of logopoeia,
as each work has complex imagery, which presents complex and multi-layered meaning that requires not only a detailed knowledge of English, but also a detailed background in English and classical
references. Pounds Canto II Pounds Cantos are actually one long, incomplete poem that consists of 120 sections, each referred to as a "canto." It is not easy to understand
Pound, as includes such features as quotations in various European languages, Chinese characters and a broad range of allusion to historical events. Like Eliot, Pound addresses the disjointed nature of
human experience. In The Cantos, Pound invites the reader to accompany the poet/pilgrim on a "difficult, non-linear journey out of darkness into light," and during the course of his journey,
the reader encounters countless examples of the "blessed and the damned, as well as every gradation between" (Kearns 1). Pound himself described this work as a "long poem containing history"
(Kearns 1). The poems that make up the Cantos urge the reader away from "despair...passivity, conformity, selfishness" and toward the virtues of "responsibility, an active sensibility and benevolence" (Kearns 2).
Canto II begins with the poet speaking, not to the reader, but to the ghost of Robert Browning. In these lines, Pound ponders the nature of identity, a point
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