'Canto 1' by Ezra Pound
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And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, and winds from sternward
Bore us onward with bellying canvas,
Crice's this craft, the trim-coifed goddess.
Then sat we amidships, wind jamming the tiller,
Thus with stretched sail, we went over sea till day's end.
Sun to his slumber, shadows o'er all the ocean,
Came we then to the bounds of deepest water,
To the Kimmerian lands, and peopled cities
Covered with close-webbed mist, unpierced ever
With glitter of sun-rays
Nor with stars stretched, nor looking back from heaven
Swartest night stretched over wreteched men there.
The ocean flowing backward, came we then to the place
Aforesaid by Circe.
Here did they rites, Perimedes and Eurylochus,
And drawing sword from my hip
I dug the ell-square pitkin;
Poured we libations unto each the dead,
First mead and then sweet wine, water mixed with white flour
Then prayed I many a prayer to the sickly death's-heads;
As set in Ithaca, sterile bulls of the best
For sacrifice, heaping the pyre with goods,
A sheep to Tiresias only, black and a bell-sheep.
Dark blood flowed in the fosse,
Souls out of Erebus, cadaverous dead, of brides
Of youths and of the old who had borne much;
Souls stained with recent tears, girls tender,
Men many, mauled with bronze lance heads,
Battle spoil, bearing yet dreory arms,
These many crowded about me; with shouting,
Pallor upon me, cried to my men for more beasts;
Slaughtered the herds, sheep slain of bronze;
Poured ointment, cried to the gods,
To Pluto the strong, and praised Proserpine;
Unsheathed the narrow sword,
I sat to keep off the impetuous impotent dead,
Till I should hear Tiresias.
But first Elpenor came, our friend Elpenor,
Unburied, cast on the wide earth,
Limbs that we left in the house of Circe,
Unwept, unwrapped in the sepulchre, since toils urged other.
Pitiful spirit. And I cried in hurried speech:
"Elpenor, how art thou come to this dark coast?
"Cam'st thou afoot, outstripping seamen?"
And he in heavy speech:
"Ill fate and abundant wine. I slept in Crice's ingle.
"Going down the long ladder unguarded,
"I fell against the buttress,
"Shattered the nape-nerve, the soul sought Avernus.
"But thou, O King, I bid remember me, unwept, unburied,
"Heap up mine arms, be tomb by sea-bord, and inscribed:
"A man of no fortune, and with a name to come.
"And set my oar up, that I swung mid fellows."
And Anticlea came, whom I beat off, and then Tiresias Theban,
Holding his golden wand, knew me, and spoke first:
"A second time? why? man of ill star,
"Facing the sunless dead and this joyless region?
"Stand from the fosse, leave me my bloody bever
"For soothsay."
And I stepped back,
And he strong with the blood, said then: "Odysseus
"Shalt return through spiteful Neptune, over dark seas,
"Lose all companions." Then Anticlea came.
Lie quiet Divus. I mean, that is Andreas Divus,
In officina Wecheli, 1538, out of Homer.
And he sailed, by Sirens and thence outwards and away
And unto Crice.
Venerandam,
In the Cretan's phrase, with the golden crown, Aphrodite,
Cypri munimenta sortita est, mirthful, oricalchi, with golden
Girdle and breat bands, thou with dark eyelids
Bearing the golden bough of Argicidia. So that:
Editor 1 Interpretation
Introduction
Ezra Pound's Canto 1 is considered a masterpiece of modernist poetry, and for good reason. The poem is complex and multilayered, incorporating a range of historical, cultural, and literary references. It is also a deeply personal work that reflects Pound's own anxieties and aspirations. In this literary criticism and interpretation, we will explore the many different facets of Canto 1, from its structure and language to its themes and symbolism.
Structure and Language
At first glance, Canto 1 may appear to be a disjointed collection of images and ideas, lacking any clear structure or narrative. However, a closer examination reveals a carefully crafted poem that is both cohesive and meaningful. The poem is divided into seven sections, each of which explores a different aspect of human history and culture. These sections are connected by a series of recurring motifs, including the image of the river, which represents the flow of time and history.
The language of Canto 1 is similarly complex and multilayered. Pound employs a wide range of poetic techniques, from alliteration and assonance to rhyme and meter. He also incorporates a number of foreign words and phrases, including Latin, Chinese, and Italian. These linguistic and cultural references serve to underscore the poem's global scope and the universality of its themes.
Themes and Symbolism
One of the central themes of Canto 1 is the idea of cyclical history. Pound believes that human history repeats itself in a series of cycles, with each cycle marked by a rise and fall in culture and civilization. This idea is reflected in the poem's structure, which moves from ancient civilizations to the present day and back again. The image of the river, which flows endlessly from the past to the future, reinforces this theme of cyclical history.
Another important theme of Canto 1 is the search for truth and meaning. Pound is deeply skeptical of modern civilization and its values, and he believes that the only way to find true meaning is to look to the past. This idea is encapsulated in the poem's opening lines:
"AND THEN went down to the ship, Set keel to breakers, forth on the godly sea, and We set up mast and sail on that swart ship, Bore sheep aboard her, and our bodies also"
Here, Pound is invoking the image of Odysseus setting out on his journey to find knowledge and wisdom. The ship represents the quest for truth and meaning, and Pound is suggesting that this quest requires a willingness to embrace the unknown and take risks.
Symbolism also plays an important role in Canto 1. The image of the river, as mentioned earlier, represents the flow of time and history. The image of the goddess, who appears throughout the poem, represents the divine feminine and the creative force of the universe. The image of the tree, which appears in the final section of the poem, represents life and growth.
Interpretation
So what does all of this mean? What is Pound trying to say with Canto 1? At its core, the poem is a meditation on the nature of human history and the search for meaning in a complex and confusing world. Pound is suggesting that the only way to find true meaning is to look to the past, to the wisdom of our ancestors and the lessons of history. He is also suggesting that this search requires a willingness to take risks and embrace the unknown.
At the same time, however, Pound is deeply skeptical of modern civilization and its values. He believes that we have lost touch with the divine and that we are in danger of losing our connection to the natural world. He is calling for a return to a simpler, more authentic way of life, one that is rooted in the wisdom of the past.
Conclusion
In conclusion, Canto 1 is a deeply complex and multilayered poem that explores a range of historical, cultural, and literary themes. It is a powerful meditation on the nature of human history and the search for meaning in a complex and confusing world. Through its structure, language, and symbolism, Canto 1 offers a compelling vision of the past, present, and future, and challenges us to reconsider our own relationship to the world around us.
Editor 2 Analysis and Explanation
Canto 1: A Journey Through Time and Space
Ezra Pound's Canto 1 is a masterpiece of modernist poetry that takes the reader on a journey through time and space. The poem is a collage of images, ideas, and historical references that are woven together to create a complex and multi-layered narrative. In this analysis, we will explore the themes, structure, and language of Canto 1 to understand its significance in the context of modernist poetry.
The poem begins with the famous line, "And then went down to the ship," which immediately sets the tone for a journey. The speaker is embarking on a voyage, both physical and metaphorical, into the unknown. The ship represents a vessel of exploration, a means of escape from the mundane world and a gateway to new experiences. This theme of exploration and discovery is central to the poem and is reflected in the many historical and cultural references that follow.
The first stanza of the poem introduces the reader to a series of images that are both vivid and enigmatic. The "bright black-eyed" women and the "red gold hair" of the sailors create a sense of exoticism and mystery. The "white breasts" of the women suggest purity and innocence, while the "blackened hulls" of the ships evoke a sense of danger and adventure. These contrasting images create a tension that runs throughout the poem, reflecting the complex nature of the journey that the speaker is undertaking.
As the poem progresses, the speaker begins to delve into history and mythology, drawing on a range of cultural references to create a rich tapestry of ideas and images. The reference to "Odysseus" in the second stanza is significant, as it establishes a connection between the speaker's journey and the epic journey of the Greek hero. The use of the word "polytropos" to describe Odysseus is also significant, as it suggests a sense of adaptability and resourcefulness that the speaker will need on his own journey.
The third stanza of the poem introduces the reader to a series of historical figures, including "Camestros" and "Phoenician traders." These references serve to anchor the poem in a specific historical context, while also highlighting the diversity of cultures that the speaker encounters on his journey. The use of the word "barbarous" to describe the traders is significant, as it reflects the Eurocentric attitudes of the time and underscores the cultural divide that the speaker is attempting to bridge.
The fourth stanza of the poem introduces the reader to a series of images that are both surreal and haunting. The "ghosts of sailors" and the "phantoms of ships" create a sense of unease and foreboding, suggesting that the journey is not without its dangers. The reference to "the dead" also suggests a sense of mortality and the inevitability of death, adding a layer of existentialism to the poem.
The fifth stanza of the poem introduces the reader to a series of historical and cultural references that are both complex and allusive. The reference to "the Chinese" and "the Greeks" highlights the diversity of cultures that the speaker encounters on his journey, while the reference to "the jewelled isle" suggests a sense of exoticism and opulence. The use of the word "sophist" to describe the Greeks is also significant, as it reflects the speaker's interest in philosophy and intellectualism.
The sixth stanza of the poem introduces the reader to a series of images that are both surreal and dreamlike. The "crimson pennants" and the "silver trumpets" create a sense of pageantry and grandeur, while the reference to "the moon's white chariot" suggests a sense of otherworldliness and magic. The use of the word "sibyl" to describe the moon is also significant, as it suggests a sense of prophecy and divination.
The final stanza of the poem brings the reader back to the present moment, as the speaker reflects on his journey and the lessons he has learned. The reference to "the faces of men" suggests a sense of community and shared experience, while the use of the word "we" suggests a sense of solidarity and unity. The final line of the poem, "And we came to the market-place," suggests a sense of closure and completion, as the speaker returns to the mundane world after his journey.
In terms of structure, Canto 1 is a collage of images and ideas that are woven together to create a complex and multi-layered narrative. The poem is divided into seven stanzas, each of which introduces the reader to a new set of images and ideas. The use of enjambment and irregular line lengths creates a sense of fluidity and movement, reflecting the speaker's journey through time and space.
In terms of language, Canto 1 is characterized by its use of allusion, metaphor, and symbolism. The poem draws on a range of historical and cultural references to create a rich tapestry of ideas and images. The use of metaphor and symbolism creates a sense of depth and complexity, allowing the reader to interpret the poem in a variety of ways.
In conclusion, Canto 1 is a masterpiece of modernist poetry that takes the reader on a journey through time and space. The poem is a collage of images, ideas, and historical references that are woven together to create a complex and multi-layered narrative. The themes of exploration, discovery, and cultural diversity are central to the poem, reflecting the complex nature of the journey that the speaker is undertaking. The structure and language of the poem are characterized by their use of allusion, metaphor, and symbolism, creating a sense of depth and complexity that invites the reader to interpret the poem in a variety of ways.
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