'Canto I' 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
Canto I by Ezra Pound: A Masterpiece of Modernist Poetry
Are you ready to embark on a journey through time and space, through ancient myths and modern wars, through beauty and horror, through words that dazzle and defy? Then welcome to Canto I, the opening salvo of Ezra Pound's epic poem, The Cantos, one of the most ambitious and controversial works of modernist literature. In this literary criticism and interpretation, I will delve into the depths of Pound's poetic vision, analyzing its themes, techniques, and cultural resonances, and offering my own insights and reactions.
First, some background information. Ezra Pound (1885-1972) was an American poet and critic who spent most of his adult life in Europe, where he became a central figure of the modernist movement, along with T.S. Eliot, James Joyce, and others. Pound was known for his radical experiments with language, his advocacy of imagism and vorticism, his political and economic theories, and his controversial views on race, culture, and history. The Cantos, which he began writing in 1915 and continued revising and expanding until his death, is a monumental poem that spans over 800 pages and encompasses a wide range of subjects, from the ancient Greeks and Romans to the Renaissance, from Confucius and Buddha to Mussolini and Hitler, from nature and art to economics and philosophy. The poem is divided into 120 cantos, or sections, each varying in length, style, and content, and each representing a fragment of Pound's encyclopedic vision of human civilization.
Now, let's focus on the first canto, which is often regarded as a microcosm of the whole work, and which sets the tone and themes of the entire epic. The canto begins with a famous line that has become a mantra of modernist poetics: "And then went down to the ship." This line echoes the opening of Homer's Odyssey, which Pound translated and admired, and which he saw as a model for his own epic voyage. The ship, in Pound's poem, is a metaphor for the poet's mind, which sets sail on a quest for knowledge, beauty, and truth, and which encounters various obstacles and temptations along the way. The ship also represents the human condition, which is constantly exposed to the currents and storms of history, and which must navigate through the treacherous waters of war, politics, and ideology.
The first stanza of the canto introduces some of the main themes and motifs that will recur throughout the poem. The speaker, who may or may not be Pound himself, declares his intention to sing "of what bale is in our mortal lot," that is, of the suffering and tragedy that afflict humanity. He also invokes the muses of Greek mythology, who inspire and guide the poet, and who symbolize the continuity and diversity of artistic traditions. The speaker calls upon Calliope, the muse of epic poetry, who inspired Homer and Virgil, among others, and who represents the ideal of heroic courage and artistic excellence. The speaker also mentions the muses of lyric and love poetry, Erato and Eros, who embody the joys and sorrows of passionate emotions and human intimacy. By invoking these muses, Pound aligns himself with a long line of poets and artists who have sought to express the human experience through the power of language and imagination.
The second stanza of the canto shifts to a more concrete and historical focus, as the speaker describes the city of Aulis, where the Greek fleet assembled before sailing to Troy. This city, which is mentioned in several Greek myths and dramas, is associated with the sacrifice of Iphigenia, the daughter of Agamemnon, who was offered as a victim to appease the goddess Artemis, who had sent a storm to hinder the Greek fleet. Pound's version of the story emphasizes the cruelty and injustice of this act, and suggests that it foreshadows the wars and atrocities of modern times. The speaker asks: "What is hell?/ Hell is oneself,/ Hell is alone, the other figures in it/ Merely projections. There is nothing to escape from/ And nothing to escape to." This passage echoes the existentialist philosophy of Jean-Paul Sartre and others, who argued that human beings are condemned to be free, to make their own choices and create their own meaning, without any pre-established values or divine guidance. The speaker implies that the horrors of war and tyranny are not caused by external forces, but by the human condition itself, by our own fears, desires, and illusions.
The third stanza of the canto introduces a new character, who will become a recurring figure in Pound's poem: Guido da Montefeltro, a medieval Italian knight who served as a counselor to Pope Boniface VIII, and who is said to have repented of his sins on his deathbed. Guido is a complex and ambiguous figure, who embodies both the virtues and the vices of chivalry, and who is caught in a dilemma between loyalty and conscience. Pound's version of Guido's story emphasizes his tragic irony, as he is deceived by the Pope's promise of absolution, and is condemned to hell despite his good intentions. The speaker asks rhetorically: "What thou lovest well remains,/ the rest is dross/ What thou lov'st well shall not be reft from thee/ What thou lov'st well is thy true heritage." This passage suggests that the only true value in life is the love of beauty, truth, and goodness, which transcends all earthly powers and possessions, and which is the legacy of all human beings.
The fourth and final stanza of the canto returns to the themes of the first stanza, as the speaker reflects on the power and limitations of language, and on the role of the poet in shaping and preserving cultural memory. The speaker says: "And the world cannot be discovered by a journey of miles,/ no matter how long,/ but only by a spiritual journey,/ a journey of one inch,/ very arduous and humbling and joyful,/ by which we arrive at the ground at our own feet,/ and learn to be at home." This passage implies that the true journey of life is not physical or geographical, but spiritual and psychological, and that the poet's task is to help us discover the hidden connections and patterns of the world, and to awaken our sense of wonder and belonging. The speaker also argues that the past is not dead or irrelevant, but alive and present, and that the poet's duty is to revive and reinterpret the myths and symbols of the past for the sake of the present and the future.
In conclusion, Canto I is a rich and complex poem that lays out the main themes and techniques of Pound's epic vision. Through its use of allusions, symbols, and images from ancient and modern cultures, the canto creates a multi-layered and multi-valent texture of meaning that challenges and rewards the reader's imagination and intellect. The canto also exemplifies Pound's techniques of "ideogrammic" writing, which seek to compress and condense complex emotions and ideas into concise and suggestive phrases, and which require the reader's active participation in deciphering and interpreting the text. The canto's themes of war, history, memory, language, and humanity's existential dilemma resonate with the concerns of modernist literature and culture, and continue to inspire and provoke readers and scholars today. Whether you love or hate Pound's poetry, you cannot deny its power and originality, its influence and impact on the history of modern poetry. So, let us join Pound's ship of words, and set sail for the unknown shores of beauty and truth, of wisdom and folly, of life and death. Who knows what treasures and terrors we may find?
Editor 2 Analysis and Explanation
Ezra Pound's "Canto I" is a classic poem that has been studied and analyzed by scholars and poetry enthusiasts for decades. This poem is the first of a series of 116 cantos that Pound wrote over the course of his career. The poem is a complex and multi-layered work that explores a wide range of themes and ideas. In this analysis, we will take a closer look at "Canto I" and explore its meaning, structure, and significance.
The poem begins with the famous line, "And then went down to the ship." This line sets the tone for the rest of the poem, as it suggests a journey or a quest. The ship is a symbol of adventure and exploration, and it represents the poet's desire to explore new ideas and experiences. The line also suggests a departure from the familiar and a willingness to take risks.
The next few lines of the poem introduce the reader to a variety of characters and images. We are told about "the bright-eyed Maronite," who is a member of a Christian sect in Lebanon. We are also introduced to "the sleek-headed Greeks," who are a reference to the ancient Greeks and their culture. These characters represent different cultures and traditions, and they suggest the poet's interest in exploring different ways of thinking and living.
The poem then shifts to a description of the sea, which is a recurring image throughout the cantos. The sea represents the vastness and mystery of the world, and it suggests the poet's desire to explore the unknown. The sea is also a symbol of change and transformation, as it is constantly shifting and evolving.
The next section of the poem introduces the reader to a variety of historical and mythological figures. We are told about "Odysseus," the hero of Homer's epic poem, "The Odyssey." We are also introduced to "the Cretan," who is a reference to the ancient Greek island of Crete. These figures represent different aspects of human history and culture, and they suggest the poet's interest in exploring the past.
The poem then shifts to a description of the city of London, which is a recurring setting throughout the cantos. London represents the modern world and its complexities, and it suggests the poet's interest in exploring contemporary society. The city is described as "unreal," which suggests that it is a place of illusion and deception.
The final section of the poem introduces the reader to a variety of philosophical and spiritual ideas. We are told about "the river's tent," which is a reference to the Hindu concept of maya, or illusion. We are also introduced to "the nymphs," who are a reference to the ancient Greek goddesses of nature. These ideas represent different ways of understanding the world and our place in it, and they suggest the poet's interest in exploring different philosophical and spiritual traditions.
The structure of the poem is complex and multi-layered. The poem is written in free verse, which means that it does not follow a strict rhyme or meter. This allows the poet to experiment with different rhythms and sounds, and it gives the poem a sense of spontaneity and improvisation.
The poem is also structured around a series of images and ideas that are repeated throughout the cantos. These images and ideas create a sense of unity and coherence, and they suggest that the poem is part of a larger project or vision.
The significance of "Canto I" lies in its exploration of a wide range of themes and ideas. The poem is a reflection of Pound's interest in exploring different cultures, traditions, and ways of thinking. It is also a reflection of his interest in exploring the past and the present, and in understanding the complexities of the modern world.
The poem is also significant because of its influence on modern poetry. Pound's use of free verse and his experimentation with different rhythms and sounds helped to revolutionize the way that poetry was written and understood. His interest in exploring different cultures and traditions also helped to broaden the scope of modern poetry, and to create a more diverse and inclusive literary landscape.
In conclusion, "Canto I" is a classic poem that continues to inspire and challenge readers today. Its exploration of different cultures, traditions, and ways of thinking, as well as its use of free verse and experimentation with different rhythms and sounds, make it a significant work in the history of modern poetry. Its themes and ideas continue to resonate with readers, and its influence on modern poetry is undeniable.
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