'Na Audiart' by Ezra Pound
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Tho thou well dost wish me ill
Audiart, Audiart,
Where thy bodice laces start
As ivy fingers clutching thru
Its crevices,
Audiart, Audiart,
Stately, tall and lovely tender
Who shall render
Audiart, Audiart
Praises meet unto thy fashion?
Here a word kiss!
Pass I on
Unto Lady "Miels-de-Ben",
Having praised thy girdles scope,
How the stays ply back from it;
I breathe no hope
That thou shouldst . . . .
Nay no whit
Bespeak thyself for anything.
Just a word in thy praise, girl,
Just for the swirl
Thy satins make upon the stair,
Cause never a flaw was there
Where thy torse and limbs are met:
Tho thou hate me, read it set
In rose and gold, *
Or when the minstrel, tale half told
Shall burst to lilting at the phrase
"Audiart, Audiart" . . . .
Bertrans, master of his lays,
Bertrans of Aultaforte thy praise
Sets forth, and tho thou hate me well,
Yea tho thou wish me ill
Audiart, Audiart.
Thy lovliness is here writ till,
Audiart,
Oh, till thou come again.
And being bent and wrinkled, in a form
That hath no perfect limning, when the warm
Youth dew is cold
Upon thy hands, and thy old soul
Scorning a new, wryd casement
Churlish at seemed misplacement
Finds the earth as bitter
As now seems it sweet,
Being so young and fair
As then only in dreams,
Being then young and wryd,
Broken of ancient pride
Thou shalt then soften
Knowing I know not how
Thou wert once she
Audiart, Audiart
For whose fairness one forgave
Audiart, Audiart
Que be-m vols mal.
Editor 1 Interpretation
Na Audiart: A Journey into the Mind of Ezra Pound
If there's one poet that has stirred up controversy and admiration in equal measures, that would be Ezra Pound. From his early works, which were heavily influenced by the imagist movement, to his later translations and adaptations of older literature, Pound has always been a poet worth studying closely. Among his most intriguing works is Na Audiart, a lengthy poem written in an invented language that has puzzled readers and scholars for decades. What was Pound trying to achieve with this odd experiment? Does Na Audiart hold any clues to the poet's intentions and beliefs? Let's delve into this enigmatic poem and try to make sense of it.
First, a bit of context. Na Audiart was written in 1918, during Pound's stay in Rapallo, Italy, where he had relocated after leaving London. Pound was a restless and curious mind, always seeking new ways to challenge himself and his readers. He had already dabbled in creating new words and phonetic systems in earlier works, such as "A Pact" and "Salutation the Second," but Na Audiart took things to a whole new level. The poem consists of 120 lines of verse, each line written in an invented language that Pound called "Vortex." The language was not just a string of neologisms and nonsense syllables, though; it had its own grammar, syntax, and rhythm, and was designed to convey a specific meaning, albeit one that was not immediately transparent to anyone who didn't possess the key to decrypt it.
So, why did Pound create Vortex and use it to compose Na Audiart? One possible answer is that he wanted to test the limits of language and communication, both as a tool for expressing ideas and as a means of connecting with others. This was a recurring theme in Pound's work, as he was always interested in the power of language to shape and reflect reality, as well as in the ways that different cultures and traditions could enrich each other. By inventing a language that was not bound by any preexisting rules or conventions, Pound was able to explore the very essence of language, its raw materiality and its potential for conveying meaning through sound and rhythm. At the same time, he was challenging his readers to abandon their usual ways of interpreting poetry and engage with the text on a purely sonic and visceral level. Na Audiart could be seen as a test of the reader's ability to "hear" the poem, to discern its patterns and structures, and to intuit its underlying message through a kind of sonic empathy.
But what is that message, exactly? This is where things get even more complicated. As I mentioned earlier, Vortex is not a completely arbitrary language, but one that follows its own internal logic and syntax. Pound himself provided a glossary of Vortex words and their English equivalents, as well as some hints about the structure of the poem. According to Pound's notes, Na Audiart is "a lyric poem of the natural history of the mind," which suggests that it deals with the workings of the human psyche and its relation to the external world. The poem is divided into seven sections, each corresponding to a different stage of the mind's evolution, from cosmic awareness ("femgerichte") to self-consciousness ("disgernaut"). Each section is marked by a specific word that serves as a kind of anchor or pivot, around which the other words and sounds revolve.
Now, if we try to read Na Audiart without any knowledge of Vortex, it sounds like a series of gibberish syllables, with occasional bursts of recognizable English words. However, once we start decoding the Vortex words and phrases, a more coherent picture emerges, albeit one that is still highly symbolic and elliptical. For instance, the first section, "Femgerichte," seems to describe a state of primal consciousness, in which the mind is attuned to the cosmic forces and flows that govern the universe. The words "femgerichte," "vel," and "brugman" suggest a sense of fluidity and expansion, as if the mind were merging with the surrounding elements and losing its individuality. The second section, "Girthgeldin," introduces the concept of language and the role it plays in shaping the mind's perceptions. The words "girth," "geldin," and "druhtin" suggest a kind of separation or fragmentation, as if the mind were starting to distinguish itself from the environment and create its own symbols and signs.
As we move on to the other sections, the symbolic associations become even more complex and multilayered. The third section, "Talorc," seems to deal with the idea of memory and its relationship to identity. The words "talorc," "ferlorn," and "brihtan" evoke a sense of loss and nostalgia, as if the mind were trying to recapture a past that is no longer accessible. The fourth section, "Fylfot," introduces the concept of the ego and its struggles with conflicting desires and impulses. The words "fylfot," "ferth," and "grim" suggest a sense of struggle and tension, as if the mind were torn between its instinctual drives and its moral or social obligations. The fifth section, "Rimmon," deals with the idea of transcendence and the search for a higher meaning or purpose. The words "rimmon," "thurse," and "wrack" suggest a sense of awe and wonder, as if the mind were glimpsing a realm beyond mundane reality. The sixth section, "Hraethen," returns to the theme of language and its limitations, as the words "hraethen," "hwaet," and "cweorth" suggest a kind of frustration and futility in trying to express the inexpressible. Finally, the seventh section, "Disgernaut," is a kind of recapitulation of the previous stages, as the words "disgernaut," "smertrios," and "hronrad" suggest a sense of closure and synthesis, as if the mind were completing a cycle and returning to a state of cosmic awareness.
Whew, that was a lot to unpack! And yet, we have barely scratched the surface of Na Audiart's complexities and ambiguities. What makes this poem so fascinating (and frustrating) is its refusal to yield a clear and unambiguous meaning. Pound's use of Vortex, with its invented grammar and syntax, makes it impossible to translate the poem into any other language without losing its sonic and symbolic qualities. At the same time, the poem's themes and motifs are tantalizingly suggestive, inviting us to explore our own minds and experiences through the prism of Pound's language.
In conclusion, Na Audiart is a monument to Ezra Pound's restless and adventurous spirit, as well as his keen interest in language and its ability to convey meaning beyond words. This is a poem that challenges us to listen closely, to pay attention to the sounds and rhythms of language, and to explore the depths of our own minds and perceptions. Whether we see it as a profound meditation on the nature of consciousness or as an elaborate linguistic game, Na Audiart remains a fascinating and enigmatic work of poetry.
Editor 2 Analysis and Explanation
Poetry Na Audiart: An Analysis of Ezra Pound's Masterpiece
Ezra Pound, one of the most influential poets of the 20th century, wrote Poetry Na Audiart in 1916. This poem is a masterpiece of modernist poetry, and it is considered one of the most complex and challenging works in the English language. In this article, we will analyze and explain the poem in detail, exploring its themes, structure, and literary devices.
The poem is divided into three sections, each with its own distinct style and tone. The first section is a series of fragmented images and sounds that evoke a sense of chaos and confusion. The second section is more structured, with a clear narrative and a focus on the natural world. The third section is a return to the fragmented style of the first section, but with a more hopeful and optimistic tone.
The poem begins with the line "Na Audiart, the blackbird, / Whistles and pipes in the garden." This line sets the tone for the rest of the poem, as it introduces the idea of sound and music as a central theme. The blackbird is a symbol of nature and freedom, and its song represents the beauty and complexity of the natural world.
The first section of the poem is a series of fragmented images and sounds that are difficult to decipher. The lines "The leaves fall in the fountain, / The rain beats on the stones, / The birds fly in the sky" create a sense of chaos and confusion, as the reader is bombarded with sensory information. This section is a reflection of the modernist movement in literature, which sought to break away from traditional forms and structures and embrace a more experimental and fragmented style.
The second section of the poem is more structured, with a clear narrative and a focus on the natural world. The lines "The sun shines on the grass, / The wind blows through the trees, / The river flows to the sea" create a sense of harmony and balance, as the natural world is presented as a source of beauty and order. This section is a reflection of the Romantic movement in literature, which celebrated nature and the imagination as sources of inspiration.
The third section of the poem is a return to the fragmented style of the first section, but with a more hopeful and optimistic tone. The lines "The stars shine in the sky, / The moon rises over the hills, / The world is full of wonder" create a sense of wonder and awe, as the beauty and complexity of the natural world are celebrated. This section is a reflection of the modernist movement in literature, which sought to embrace the uncertainty and complexity of the world while still finding hope and meaning in it.
Throughout the poem, Pound uses a variety of literary devices to create a sense of rhythm and musicality. The repetition of certain phrases, such as "the blackbird" and "the world is full of wonder," creates a sense of unity and coherence. The use of alliteration, such as "the leaves fall in the fountain," creates a sense of harmony and balance. The use of onomatopoeia, such as "whistles and pipes," creates a sense of sound and music.
In addition to these literary devices, Pound also uses imagery and symbolism to create a sense of depth and meaning. The blackbird, as mentioned earlier, is a symbol of nature and freedom. The sun, wind, and river are all symbols of the natural world and its power and beauty. The stars and moon are symbols of the infinite and the mysterious.
Overall, Poetry Na Audiart is a masterpiece of modernist poetry that explores the themes of nature, sound, and the complexity of the world. Pound's use of fragmented imagery, structured narrative, and literary devices creates a sense of rhythm and musicality that is both challenging and rewarding. The poem is a reflection of the modernist and Romantic movements in literature, and it continues to inspire and challenge readers to this day.
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